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by AGDA QLD Secretariat
AGDA 2000 Awards and Conference
Speaker Synopses
Guaranteed to uplift the soul and have you salivating for more!
eobrands and the Third Wave Saturday 11.15am
Ross Honeywill, KPMG Centre for Consumer Behaviour
The world is changing. And it is changing fast, and while the change takes many forms, one thing is clear -- a new wave is sweeping the world. The much-discussed New Economy is merely the visible manifestation of what we call the Third Wave.
What we are experiencing is a change from the institutional to the individual, from the corporate to the personal. This change gathered strength in the early 1990s as the Second Wave of the 20th century began to peak bringing almost a century of universal rules to an end.
Consumers are now demanding information and experiences that are absolutely relevant to them and their particular set of life aspirations. They are shifting away from the transactional to the personal, with human scale and high-touch as dominant themes. And these new consumers, these Iconsumers, are an influential lot.
In Australia 22 percent of the population is in the Third Wave. This group of postmodern Iconsumers exhibits all the characteristics of the new individualist and controls almost half the discretionary spending power of the country, with more than 80 percent of them connected to the Internet.
They also yearn for high-touch or the satisfaction of physical interaction; of personal engagement with an object; for dialogue with other members of their changing circles of interest. And the brand for the Iconsumers will be a personal icon rather than a traditional brand. An emblem imbued with the values of the individual. To unravel this we need to consider the post-structuralist approach to object and subject.
To most of us a cow is an object so we can eat its meat. To a Hindu however it is a subject and it would be unthinkable to eat its flesh.
In the Third Wave a brand or personal icon is a subject rather than the object the corporate brand undoubtedly is in the Second Wave or old economy. The traditional corporate logo deals with and communicates the values of a corporation. It embodies the corporate culture, and its brand personality and brand equity reflect the corporate strategy. In the Third Wave, the personal icon changes to reflect the personal ideals and values of the individual.
So brands exist in the Third Wave, but in the form of neobrands. These are brands that change personality with the consumer, that acquire the attitudes, values and aspirations of the individual experiencing them.
And while design is critical to the neobrand or the personal icon, it is anything but traditional. Design must be a flexible set of applications from a family of imagery rather than a logo. It must be complex, iconoclastic, paradoxical, versatile, and relevant to the individual.
The corporate brand has become less important in a world in which information, relevance and certainty are provided virtually brand free. As corporate brands and transactions move to the background, experiences and personal icons are moving to the foreground. Welcome to the Third Wave.
Ross Honeywill describes himself as a social ecologist and is director of the KPMG Centre for Consumer Behaviour in Australia.
His e-mail address is: rhoneywill@kpmg.com.au
Branding Suburban Centres Saturday 12.00pm
Robert Prestipino, Vital Places
Branding Suburban Centres: (Design for Cultural & Economic Revitalisation)
New Synergies
Local business centres are using branding to reverse their decline. People, Places and Business are finding new synergies to revitalise cultural and economic foundations of their communities.
The revitalisation of business centres is providing an unprecedented reassessment of the value of precinct images. As a result, local business centres are now applying a unique mix of cultural and economic initiatives geared towards the creation of life style brands.
The Surburban Centre Improvement Project
This presentation will draw from the extensive experiences, skills and processes developed in delivering Brisbane City Council's nationally and internationally acclaimed Suburban Centre Improvement Project (SCIP). SCIP is a suburban centre renewal program that since its launch in 1996 has completed significant and successful public works in 18 centres costing a total of $12.2 million with an additional $3.2 million for 4 more centres currently under construction in the 99/00 year.
Living Villages
Under the banner of Living Villages the projects have begun the remaking of local communities; reacquainting people with the habit of socialising, shopping and doing business locally, providing viable alternatives to more
distant centres and encouraging more sustainable travel patterns. The challenge has been to rediscover the potential of Brisbane's local suburban centres to become living villages in a more livable city.
Challenging the Conventional
SCIP is an ambitious program of consultation, design and placemaking that has challenged conventional local government approaches. Its success with local communities and business has established benchmarking for new standards of urban design practice in the public realm.
Fast Track Laboratory
The challenge of managing multiple projects and achieving design through consultation, integrated artwork and construction of works within a financial year has fine tuned design objectives, audits, detailing, consultation techniques and team management processes. The uncommon opportunity to test and review over 22 centres within 4 years has provided invaluable insight to what does and does not work.
Practical Insights
This fast paced presentation has draw from project experience to distill key issues for successful branding of local business precincts.
The key issues will be grouped under the following headings:
Values for the New Millennium
The Challenge of a 'Group Client'
Seamless Integration -- The Foundation of Local Brands
Design -- Providing the Backbone
Communication -- Smoothing the Troubled Waters
Placemaking -- Adding the Flavour
Pea and Thimble -- Intellectual Property Saturday 3.45pm
John Kenny and Brian Richards, Kenny & Co
Pea and Thimble -- Intellectual property and the designer;
Who owns what and what is it worth?
Creativity for the Designer has another dimension- since design solutions embody valuable Intellectual Properties Ò certainly copyrights, but probably design rights and Trade Mark Rights as well. Such rights can be commercially applied to significantly contribute to the clientÌs benefit and thereby increase in value. John Kenny, Solicitor and Brian Richards, Accountant are two of the three members of the multi-disciplinary branding consortium, Tm5.
Their joint presentation will address:
How the Designer identifies which one or more intellectual properties are created within the design process;
Which of the client and/or designer owns these rights and/or has the authority to use these rights;
How these rights are treated for the purposes of taxation, balance sheet and valuation.
The Designer has either or both of the opportunity, if not the obligation, to understand the economic benefits inherent in creativity.
Self Branding Saturday 3.45pm
Claire Lingard, Managing Director, Leaders IT Resource Specialists
Director -- Today Solutions Pty Ltd -- internationally recognized by Cognos and Microsoft as a Leader in the field of Business Intelligence and ASP solutions.
Executive Management Committee -- Women in IT
Industry Advisor -- IT&T Careers Network -- Communication and Information Services, DCILGP
Advisor -- Club Concepts, dot.com startup
Director -- Distributed Systems Technology Centre, CRC
Member of Office of Women's policy reference group for women and employment
Claire commenced her career in the Information Technology industry in 1990 joining one of the world's largest consulting firms -- Andersen Consulting. Since that time she and her business partner have been successful in establishing Leaders IT Resource Specialists which is recognized as one of Australia's most successful IT Recruitment and Contracting firms employing over 100 IT&T professionals, and creating an an online community with 20,000 members. With clients that include some of the IT industries hottest commodities, biggest brand names and new ventures, Claire understands only to well the opportunities and challenges which lie ahead in this dot com world in terms of positioning both your company, and you.
Claire's presentation will focus on what it takes to build brand you, and position yourself as one of the new gold collar workers managing a portfolio career in this new world of work.
Protecting an Identity Saturday 4.15pm
Ian Tannahill, Pizzeys Patent & Trade Attorneys
The definition of what constitutes a registrable trade mark was significantly broadened by the introduction of the Trade Marks Act 1995. The new Trade Marks Act now provides for the registration of non-visual signs such as sounds and scents, as well as aspects of packaging, shape and colour. Ian Tannahill will discuss the impact the new Trade Marks Act has had on the registration of trade marks; the various aspects of an "identity" which now may be registered, and some of the matters that you as designers should consider when developing new brands. Matters including the registrability of the fit-out of a retail outlet; the shape and ornamentation of packaging, as well as sounds, including the roar of the MGM lion will be considered.
Identity within Australian Aboriginal Art Saturday 4.15pm
Laurie Nilsen, Fire-works Gallery
Introduction: Describing the diversity of Aboriginal culture, both its geographical spread, (Desert, Coastal, Inland, Urban/Modern) impacting on
culture and lifestyle. This obviously is also reflected in the diversity of art practices. (dotpainting, bark painting, carvings, artefacts, sculpture,
photography, new materials etc.) This leads us to:
Understanding and discussions about:
Is Aboriginal art different?
Why identity is important to Aboriginal people.
Discussions on copyright issues.
Why copyright is important to Aboriginal culture, and directly associated to the art and stories.
Real Issues: Copyright cases. Johnny Bulun Bulun (Landmark legal case) 1989
Real Aboriginal art or fake souvenirs etc. Developing a Label of Authenticity (current) The formation of indigenous art network bodies -- ArtTrade
(1998-current) Educating black and white. The formation of a tertiary level art course for Aboriginal people -- BVA CAIA Griffith University course, how and why it was established, content etc (1995-present)
Conclusions: So what then is Aboriginal art? Is it a technique that anyone can learn? Or is it 'any art' made by Aboriginal people?
Other questions and discussions.
Design & Motion -- Film making Sunday 11.15am
Paul Butler and Scott Walton, Fifty Fifty Film Pty Ltd
What is Mediafusion? Sunday 11.15am
Ben Shapiro, dcg
The use of emerging technologies presents a whole range of new challenges and opportunities for traditional media companies.
Due to the technical implications there have been few successes with integrating technology into the 'whole product' that the customer is trying to achieve in the marketplace.
Mediafusion"! looks at the fusing of both emerging and traditional mediums to ensure that branding and identification is uniform and consistent, no matter which medium the potential client will be confronted with.
The Concept and Image in Advertising Sunday 11.45am
Hannah Cutts, Cutts Creative
My session is less of a talk, more of a slide show in which the image is hero. And then it's less about the image and more about the useage of that image and what it represents.
A picture of a lemon can mean many things -- however, place that lemon within a lemon within a lemon to create a 'babushka' and it can mean only one thing -- a russian lemon. We only expect one marketable product from russia and that's vodka.
So, that image says Russian lemon vodka; slam a Stoly logo on the bottom and Bob's your Uncle.
Demo 1: Who made you the boss of me? Sunday 11.45am
Kevin Wilkins, @sseaven
This presentation deals with work currently being produced by the studio @sseaven. This work includes multimedia, web design, art direction, advertising, video direction, photography and illustration. The major focus of the work produced by the studio and its principal Kevin Wilkins has been for the entertainment and advertising industries.
Currently the studio works for among others; Sony music australia, Warner music australia, EMI records, Universal music and Singleton Ogilivy and Mather. Over the past few years Kevin has picked up various awards for his work including ARIA awards for Silverchair and Powderfinger, MICA award and The Poloroid International photographic awards. This work is represented here.
Also the presentation includes various videos directed and shot by the studio. Multimedia is covered by the studios contributions to various Burl's including sites for Silverchair, Endorphin, Austral photographic and Triple JJJ.
Photography and photographic art direction remains an original focus of the studio's work this is represented by work for such diverse clients from Bardot to The Museum of Contemporary Art. Kevin's regular photographic contributions to editorial photography are reflected by work for Australian style, Juice, Rolling Stone and Not Only Black and White magazines. The presentation includes work that has been commissioned by @sseaven from such unique sources including British D&AD award winning typographer Neil Edwards, Award winning British digital illustrator Phil Whitley and Australian illustrator Michael Mucci.
Art Built-in Sunday 1.30pm
John Stafford, Executive Consultant, Public Art Agency
Art Built-in: Signs of a New Direction in Government Cultural Policy
This paper explains the Queensland GovernmentÌs much discussed public art policy, Art Built-in, and the effect it is having on both the cultural and built environment sectors. In particular, it deals with the exciting collaborative opportunities presented to artists, architects, and a range of designers including graphic designers in public art projects. The paper will also explore ways that graphic designers can contribute to the built environment other than wayfinding solutions. The paper will also reaffirm that public art can be seen as potential new business for graphic designers as well as providing new professional challenges.
Branding into the 21st Century Sunday 1.30pm
Mike Beattie and Peter Nall, Beattie Nall & Associates
Mike Beattie and Peter Nall take a lively and informative look at what makes brands survive and changes in brand culture that have taken place over the last hundred years. They especially focus on brands which have made it through to the last hundred years into the 21st century. Their lively and informative analysis highlight three stages in the evolution of brands in the 20th century, and the unfolding challenges of instant interactivity in the 21st.
They discuss the often overlooked role of branding in modern business --
the ways in which brands accumulate value, the importance of consistency in presentation and communication, and the commercial benefits of sound brand strategies, not just in consumer markets. Of special interest is the extraordinary resilience shown by major brands which have survived all kinds of abuse -- from years of lax quality control through to outright disappearance for long periods. They argue that despite changes in technology and human culture, the fundamentals of branding have changed little, and that attention to a few crucial rules of practice will assure success in any market environment. They deal with the challenges facing brand marketers and
share their insights and predictions about how to successfully manage brands in the newly globalised, super-fast market place of 2001 and beyond.
SBS News -- Instant Design Sunday 2.00pm
Stefanie Kenyon, SBS Television
The SBS Graphics department has a team of six designers who produce most of the local production graphics for SBS TV. However, our primary function
is to create the daily News graphics for the 6.30pm and 9.30pm bulletins. We receive a list of graphic requests at about 12.00 noon and after a brief
discussion with the News producer we have six and a half hours to research, source imagery and design up to twenty graphics for the first bulletin.
The pressure of this daily deadline means that the designers need to be independently creative and efficient decision makers.
There is no official 'look' or departmental style guide for the news graphics. Each designer has free rein (within the limits of screen size and broadcast-safe colours) to produce whatever they feel is most visually appropriate. Our intent is to create graphics that both support the story and are interesting and intriguing to the viewer. We try to design 'up' to our audience and challenge their traditional view of news graphics.
The biggest problem that we face each day, as designers, is not how to produce the work on time, but the constant battle to maintain the integrity of our designs. Designers don't need a lot of time to create something great, they need creative control.
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