THE DESIGN SYSTEM AND ITS FORMAL INFERENCE IN LOGO DESIGN

The communicative and cultural achievement is represented by an activity with adopted formulas confirmed by compliance and flexibility that enables it to keep pace with the creative path in the age of infomedia and contemporary digital publishing programs. The explanatory space, in its intellectual and technical forms, is based on logical foundations that work on creating latent patterns and patterns that enhance the purpose of its existence. And the system in art in general and design in particular represents a mechanism for arranging work vocabulary on the basis of principles that usually refer to a system that checks the state of damage between the design work vocabulary. The system stems from those defects embodied in expressive formats that are linked to concepts and ideas through the organization of different vocabulary within the workspace that have specific characteristics that reflect a particular idea and are linked to the specificity of the required utilitarian functional nature. The lesson of the system is not only to reach the relationships that exist between the vocabulary in their embodiment of the concrete form, but it lies on a much deeper level than that, which is the level of significance. Where the formal characteristics of the product of organizational relations reflect patterns that often express their environment or are the result of those organizations with semantic reading, and the difference in the nature of the formulation of these organizations comes from the effect of the overlap of several different factors (cultural, social, religious, civilizational, functional). The design thought derives its primary material through this overlap to start the system according to the rational methods in the drafting process. To evaluate things and this is the rule of logic. From here the researcher sees that the principle of the system and its relation to the degree of formulation of the form, and the extent of variation of this formulation is due to the mental readiness in the process of organization and innovation, to be a specific formal inference related to its basic function and its structural composition in the designs of logos, so the idea of research and formulation of the research problem came according to the following question: Is there a role for the design system in formal inference in logo design? The importance of the research was formulated through: -Informing those interested in the design issue, for the purposes of developing the mechanisms of their technical work. -To benefit scientific and research institutions, as well as the press, publishing houses, and advertising agencies. The aim of the research lies in: Knowing the role of the design system in formal inference in the design of logos, and defining the limits of research, which lies in the objective limit: the design system and formal inference in the design of logos Spatial limit: some Examples of global logos that enhance the current research, And the time limit for the designed logos from (2019-2021), and definitions of the following terms were defined: design system and formal inference.. Key words:

“Now I can see”: creative women fight against machismo in Chilean advertising

Purpose This study aims to explore sexist codes in the creative departments of Chilean advertising agencies, where women represent only 4.7% of all creatives. Design/methodology/approach This study provides new insights into the experiences of women in advertising through 18 in-depth interviews with Chilean creative women. Findings The results show that gender discrimination begins in universities, where male professors are often the same people who hire creative talent into the advertising agencies and prefer men, which continues throughout women’s careers. Originality/value While there are numerous studies of advertising creative women in North American and European agencies, there are few on creative women in South American and virtually none on creative women in Chilean agencies.

Applying Principles of Management Innovation in Advertising Agencies

With the advertising industry and practice changing significantly in the last decade, it is likely that the existing management practices in advertising agencies also need some transformation. Through exploring management innovation principles and practices, novel practices might be applied by advertising agencies to exploit changes in their environment and enhance organizational performance. This paper explores the application and framework for novel management practices in an advertising agency. A proposed model is based on the principles of management innovation and the activities needed to drive management innovation. The topic is relevant for advertising agencies to understand better management innovation possibilities and enhancement it could create for them to compete in new markets and stay ahead of new competition. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Create-ing Business: Understanding Professional Tension in an Advertising Agency

<p>The purpose of this research is to concentrate on aspects of organisation culture in an advertising agency and how they help us in understanding professional tensions and conflicts. To do so I have looked within advertising agencies and endeavoured to understand their organisational dynamics. Advertising business is known for stress and tension (Kover and Goldberg, 1995). From the tension of 'pitching' Is a key step in winning a client account, here several agencies are invited to respond in person to the advertise brief. This is an important stage to demonstrate potential and add value to the product or client. Based on aesthetic values the client the makes a judgement to pass the responsibility to pass the responsibility to develop an advertisement for the product for a client to the development of an advert, the agency goes through a variety of stages where conflict, stress, internal politics and tension influence the outcome. One such tension which this research attempts to understand is the ongoing professional tussle between the creative division of an advertising agency and management. This tension between the two bodies has been studied by advertising research however these studies have only attempted to describe the conflicts that exist as well as suggest what the advertising industry can do in an attempt to tackle these scenarios. Alternatively this research applies concepts of Organisational Behaviour (OB) such as culture and identity to grasp the reasons behind this professional tension. It also recognises a strong link between identity and culture. Therefore the research challenges the common view of organisational culture, that is, it portrays culture as a form of normative control unlike the conventional notion of culture as the means of unison and conformity without resistance within an organisation. This approach will examine what role culture plays in the professional lives of an advertising agency. To analyse the role of culture as a form of control I developed a methodology that targets multiple facets of organisational culture. This research is based on a case study of an Aotearoa, New Zealand based advertising agency (pseudonym Organisation B). It involved the use of various research approaches including story or narrative analysis and rich pictures to capture the core assumptions, values and beliefs that sometimes surfaced as resistance within this agency. As a result of completing this case study I achieved some understanding of reasons that may trigger tension within an agency. I learnt of the normative and bureaucratic forms of controls used within this contemporary organisation and the rationale behind their development which I have referred to as the overarching story of Organisation B. This research also provides a new dimension to advertising research by focusing on the role of organisational culture and identity in fostering professional conflicts within an agency. This research has emphasized the role of organisational culture as a control mechanism for those in management positions. In this particular agency this is achieved via the development of a 'laid back' and 'casual' culture which is carefully designed by the owners of the business thus providing them an opportunity to curtail any resistance originating within the culture. Nevertheless, members of this agency continue to channel their resistance by striving towards the ideal creative identity. The implications of the findings to the larger advertising industry suggest that: i) Growing advertising agencies need to consider fractional views embedded in their organisational structures and realise that cultural change does not happen in isolation. ii) The research also proposes that having a strong culture is not synonymous to success and unity among a workforce. iii) There is a need to maintain a balance between creativity and strategic planning, as they are both crucial in an advertising industry.</p>

Create-ing Business: Understanding Professional Tension in an Advertising Agency

<p>The purpose of this research is to concentrate on aspects of organisation culture in an advertising agency and how they help us in understanding professional tensions and conflicts. To do so I have looked within advertising agencies and endeavoured to understand their organisational dynamics. Advertising business is known for stress and tension (Kover and Goldberg, 1995). From the tension of 'pitching' Is a key step in winning a client account, here several agencies are invited to respond in person to the advertise brief. This is an important stage to demonstrate potential and add value to the product or client. Based on aesthetic values the client the makes a judgement to pass the responsibility to pass the responsibility to develop an advertisement for the product for a client to the development of an advert, the agency goes through a variety of stages where conflict, stress, internal politics and tension influence the outcome. One such tension which this research attempts to understand is the ongoing professional tussle between the creative division of an advertising agency and management. This tension between the two bodies has been studied by advertising research however these studies have only attempted to describe the conflicts that exist as well as suggest what the advertising industry can do in an attempt to tackle these scenarios. Alternatively this research applies concepts of Organisational Behaviour (OB) such as culture and identity to grasp the reasons behind this professional tension. It also recognises a strong link between identity and culture. Therefore the research challenges the common view of organisational culture, that is, it portrays culture as a form of normative control unlike the conventional notion of culture as the means of unison and conformity without resistance within an organisation. This approach will examine what role culture plays in the professional lives of an advertising agency. To analyse the role of culture as a form of control I developed a methodology that targets multiple facets of organisational culture. This research is based on a case study of an Aotearoa, New Zealand based advertising agency (pseudonym Organisation B). It involved the use of various research approaches including story or narrative analysis and rich pictures to capture the core assumptions, values and beliefs that sometimes surfaced as resistance within this agency. As a result of completing this case study I achieved some understanding of reasons that may trigger tension within an agency. I learnt of the normative and bureaucratic forms of controls used within this contemporary organisation and the rationale behind their development which I have referred to as the overarching story of Organisation B. This research also provides a new dimension to advertising research by focusing on the role of organisational culture and identity in fostering professional conflicts within an agency. This research has emphasized the role of organisational culture as a control mechanism for those in management positions. In this particular agency this is achieved via the development of a 'laid back' and 'casual' culture which is carefully designed by the owners of the business thus providing them an opportunity to curtail any resistance originating within the culture. Nevertheless, members of this agency continue to channel their resistance by striving towards the ideal creative identity. The implications of the findings to the larger advertising industry suggest that: i) Growing advertising agencies need to consider fractional views embedded in their organisational structures and realise that cultural change does not happen in isolation. ii) The research also proposes that having a strong culture is not synonymous to success and unity among a workforce. iii) There is a need to maintain a balance between creativity and strategic planning, as they are both crucial in an advertising industry.</p>

Strategic Advertising Mechanisms: From Copy Strategy to Iconic Brands

Integrates the most important strategic advertising mechanisms developed throughout time: USP, brand image, positioning, Lovemarks. This is the first book to bring together the most consolidated methods by advertisers or advertising agencies (P&G, Bates, Ogilvy or Euro) in the history of modern advertising. Available in English for the first time.

Persona in Social Media: A Case Study on Baim Paula Youtube Channel

Social media enables its users to participate in creating and sharing media contents through their accounts; thus, it gives opportunity to gain popularity for anyone, including celebrity. This paper is aimed at revealing celebrities’ strategy to increase and maintain their popularity by constructing self-image through social media. Videos from Baim Paula youtube channel are selected as the main data of the analysis, considering Baim Wong’s success as celebrity and content creator. Using textual approach, the vidoes created and shared are analized as a cultural text which demonstrates celebrities’ self-representation in social media. The result shows that Baim Wong performs various self- images through his videos contents. His prank videos indirectly indicate authenticity and honesty entitled to Baim Wong’s image, as a strategy to create closeness to his fans. He also construcs an altruistic persona by giving presents and/or money to his pranked targets. Another self-representation is seen in videos about his daily activities with family and friends. Through these videos, Baim Wong constructs his image as a family man. The persona performed in social media has successfully attracted more fans/ subscribers and enhanced his fame. Subsequently, it generates profit not only from his YouTube channel, but also from advertising agencies and TV stations that hire him.

MEMEING AGAINST MAINSTREAM. AN ANALYSIS OF DANK MEMES AND THE PICTORIAL (COUNTER-)PRACTICES OF MEME CULTURE

Internet memes are now part of mainstream media culture. On social media, each day memes are created, consumed, and shared by millions of people. Advertising agencies create their own memes to promote brands and products. However, memes are also integral to subcultures on 4chan, Reddit, and Tumblr, where most memes originate from. These subcultures battle the mainstreamization of memes to protect the independent media making practice of memeing from outsiders, who they call ‘normies.’ Their weapon of choice are so-called ‘dank memes,’ which are self-reflexive internet memes that criticize mainstream memes and memeing. This critique is a form of visual vernacular criticism, which is highly understudied, especially in regard to digital metapictures such as dank memes. The question this paper wants to answer is: how are dank memes made and employed to reclaim the independent media making practice of memeing from mainstream and marketing culture? The focus lies on specific pictorial practices that counteract the popularization and commercialization of internet memes. To explore these counter-practices, the paper proposes a methodology that combines media philosophy with practice theory to stress that digital metapictures themselves such as dank memes hold knowledge about the media practices that mainstream memes are made of, and about how to counteract them. To explore this media knowledge, examples of the meta-meme $2 are closely examined in the context of the subreddit r/dankmemes. The conducted picture practice analysis suggests that dank memes oppose image macros, while being criticized themselves as mere shibboleths to meme culture.