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<?xml-stylesheet type="text/xsl" media="screen" href="/~d/styles/rss2full.xsl"?><?xml-stylesheet type="text/css" media="screen" href="http://feeds.avid.com/~d/styles/itemcontent.css"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:feedburner="http://rssnamespace.org/feedburner/ext/1.0" version="2.0"><channel><title>Journey from Concept to Creation</title><link>http://community.avid.com/blogs/adman/default.aspx</link><description>There is far more to the creative process than learning how to use software and configure hardware. This blog addresses them.</description><dc:language>en</dc:language><generator>CommunityServer 2008 SP2 (Build: 31106.96)</generator><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="self" type="application/rss+xml" href="http://feeds.avid.com/AvidCommunityJourneyFromConceptToCreation" /><feedburner:info uri="avidcommunityjourneyfromconcepttocreation" /><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="hub" href="http://pubsubhubbub.appspot.com/" /><item><title>Media Use (Introduction).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/ffCs5yO4Iz0/media-use.aspx</link><pubDate>Sat, 02 May 2009 13:08:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:397467</guid><dc:creator>Adman</dc:creator><slash:comments>99</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2009/05/02/media-use.aspx#comments</comments><description>&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/12/05/media-planning-amp-research.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | Next &amp;gt;&amp;gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;"Let me explain newspaper advertising to you,"  went  my client's diatribe..."It
is like buying real estate except you pay for the column-inch instead of the
square foot. So, you need to make sure that you use every single column-inch of the ad
to get the best bang for your buck..." Well... I actually agree with the sentiment that every column inch should be used to good advantage, but not by cramming every column inch with "stuff." &lt;strong&gt;As I explained to him, one of my favorite ads is a full page, full-color newspaper ad containing about 99.9% "white space"
 except for the center of the page which had a full color, life size image of
a single Hershey's Kiss.&lt;/strong&gt; The copy simply read, "In case of emergency, &lt;strong&gt;PULL&lt;/strong&gt;." Ogilvy &amp;amp; Mather used every column inch to VERY good advantage to break through the clutter while displaying their tiny silvery product in full-living-color (color costs far more than black and white). This advertisement would have made a great outdoor billboard as the message could be understood quickly and easily. &lt;strong&gt;By the way, this extensive use of every single column inch in the "Little Hershey's Kisses" campaign which ran in print and broadcast media throughout most of the 1980s and '90s helped to restore Hersheys lead in the US candy industry in 1989 with a 43.5% market share from  27% in 1975.&lt;/strong&gt;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Hershey_5F00_Kiss_5F00_ad.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" /&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; While this full page newspaper ad was used effectively for branding, newspaper ads can also be very effective for detailed price and item listings. But, an outdoor billboard would probably not be quite so versatile due to its limited space and the fact that prospects usually have only a matter of seconds to view them at the risk of plowing into the car ahead. Hopefully, not even my previous client would consider using a 30 second television commercial for
detailed price and item listings. Nor would broadcast
television covering a large DMA (as noted in a &lt;a target="_blank" href="http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx"&gt;previous blog entry&lt;/a&gt;) be used efficiently to target prospects in a small local neighborhood. Indeed, the  plethora of media vehicles out there  can 
be used to great advantage -- or misused and even totally wasted. So, before continuing my blog
entries on buying specific media, I thought I would write about
the "whys and wherefores" of specifying appropriate media.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; While the creative department develops the concept the media planner's job is to determine which media will
be most efficient and appropriate.
So, an important part of our creative journey is the development of
a media rationale for the creative brief. Often these decisions are obvious,
but sometimes they require studious evaluation. In light of these facts, my next blog entry will contain an overview
of a variety of different media and how they might be used effectively.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;..&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=397467" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/ffCs5yO4Iz0" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/television/default.aspx">television</category><category domain="http://community.avid.com/blogs/adman/archive/tags/buying/default.aspx">buying</category><category domain="http://community.avid.com/blogs/adman/archive/tags/media/default.aspx">media</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Ogilvy/default.aspx">Ogilvy</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Kiss/default.aspx">Kiss</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Hersheys/default.aspx">Hersheys</category><category domain="http://community.avid.com/blogs/adman/archive/tags/outdoor/default.aspx">outdoor</category><category domain="http://community.avid.com/blogs/adman/archive/tags/white+space/default.aspx">white space</category><category domain="http://community.avid.com/blogs/adman/archive/tags/candy/default.aspx">candy</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Mather/default.aspx">Mather</category><category domain="http://community.avid.com/blogs/adman/archive/tags/inch/default.aspx">inch</category><category domain="http://community.avid.com/blogs/adman/archive/tags/newspaper/default.aspx">newspaper</category><category domain="http://community.avid.com/blogs/adman/archive/tags/column/default.aspx">column</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2009/05/02/media-use.aspx</feedburner:origLink></item><item><title>Media Resources.</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/nj-sI1YY88s/media-planning-amp-research.aspx</link><pubDate>Sat, 06 Dec 2008 15:20:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:369670</guid><dc:creator>Adman</dc:creator><slash:comments>8</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2008/12/06/media-planning-amp-research.aspx#comments</comments><description>&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2009/04/29/media-use.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;As I mentioned in a &lt;a href="http://community.avid.com/blogs/adman/archive/2006/05/23/hold-on-to-your-hat.aspx" target="_blank"&gt;previous blog&lt;/a&gt;, my first exposure to
media planning and buying was when, due to my focus (minor) on computer science and information
systems at Georgia State University's Robinson School of Business, I was asked to research and purchase a turnkey computer
system for media planning and buying. My college internship had turned into a full-time agency
job and this was one of my first assignments. I purchased a $30,000 (circa 1985) PC based media
planning system from &lt;a href="http://www.telmarpeaktime.com/about.html" target="_blank"&gt;Telmar&amp;reg;&lt;/a&gt;. The system was primarily based on Lotus 123&amp;reg; macros using downloaded ratings data. Learning the system motivated me to dig deeper into Lotus&amp;reg; macros and dBase&amp;reg; programming...experience that later translated to Excel&amp;reg; (it is amazing how quickly Excel&amp;reg; replaced Lotus 123&amp;reg; as the industry standard).&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; I learned a great deal about media simply by learning and using
the Telmar&amp;reg; system. I was also very fortunate to receive &amp;ldquo;on the job
training&amp;rdquo; via veteran agency media professionals who suffered from computer phobia. With Telmar&amp;reg;, you could
instantly see how changes in spot selections affect the total cost and the reach
and frequency of the buy, either for a single TV station or for all media in the
buy. It was a great negotiating tool. You could instantly
compare CPPs and CPMs between the same daypart on different stations while you have your station sales representative on
the phone. The media mix capability included additional media such as
radio, print and outdoor. In addition to Telmar&amp;reg;, I later used Broadcast Management
Plus&amp;reg; and other software for media planning and buying. I also developed my own spreadsheets and a dBase program for entering and printing insertion orders.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; In addition to turnkey media planning and buying software,
online research databases such as Dialog&amp;reg;, Nexis&amp;reg;, Lexis&amp;reg;, Dow Jones&amp;reg; and Dun &amp;amp;
Bradstreet&amp;reg; are useful for doing media research and preparing media
rationales. Other comprehensive tools are available through media
providers &amp;ndash; television/radio stations, media representation firms (media reps) such as &lt;a href="http://www.katz-media.com/" target="_blank"&gt;Katz&lt;/a&gt;&amp;reg;, spot cable reps such as &lt;a href="http://www.spotcable.com/" target="_blank"&gt;NCC&lt;/a&gt;&amp;reg;, and major newspapers. Here is a quick overview of a few media resources, many of which can be accessed via media providers:&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.scarborough.com/" target="_blank"&gt;Scarborough&amp;reg;
Research.&lt;/a&gt; Developed as a newspaper measurement tool, &lt;st1:place w:st="on"&gt;Scarborough&lt;/st1:place&gt;&amp;reg; provides data on lifestyles, shopping patterns,
media behaviors and demographics at local, regional and national levels.
Founded in 1975, its services span 2,000 categories and brands which include
retail shopping, lifestyle characteristics, consumer demographics and media
usage patterns. You can have access to &lt;st1:place w:st="on"&gt;Scarborough&lt;/st1:place&gt;
via any major newspaper sales rep.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.smrb.com/aspx/content.aspx?pid=1&amp;amp;sid=33&amp;amp;page=About_About_Experian_Simmons" target="_blank"&gt;Experian&amp;reg; Simmons&lt;/a&gt;&amp;reg; &amp;ndash; formerly Simmons Market Research
Bureau (SMRB). A leading provider of consumer behavior demographics
information, Simmons&amp;reg; provides detailed brand, service and media usage
information on over 8,000 brands and over 450 product categories. It provides
data for Microsoft&amp;reg; MapPoint&amp;reg; software which can map profiles of consumer data
by state and down to census tracts. Consumer usage of thousands of brands and
services can be profiled via Simmons BrandTract&amp;reg; from any of six levels of
geography &amp;ndash; Total US, State, MSA, County, ZIP Code and Census Tract.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.esri.com/industries/retail/business/market_analysis.html" target="_blank"&gt;ESRI GIS&lt;/a&gt;&amp;reg; -- formerly CACI&amp;reg;. This GIS and mapping software combines demographic data and mapping software which can be used for market analysis to determine which products and promotions can match the lifestyles and buying patterns of potential customers in specific geographic areas.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.stratag.com/mediaproduct.html" target="_blank"&gt;STRATA&amp;reg;.&lt;/a&gt; STRATA&amp;reg; Marketing, Inc. develops premiere software for media planning and buying. They offer Spot TV, Spot Radio, Print, Outdoor, Local Cable, National Cable and Network TV Media Buying and agency products which provide in-depth Pre-buy, Buy, Posting, Reporting, media Billing and qualitative research capabilities. The agency media buying system, STRATA View handles the entire media planning and buying process from "A" to "Z." It includes multi-media Reach and Frequency allowing every combination&amp;nbsp; of TV, Radio and Print Media -- Reach, Frequency, GRP's, CPP's and more.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.arbitron.com/radio_stations/tapscan.htm" target="_blank"&gt;TAPSCAN&amp;trade;.&lt;/a&gt; TAPSCAN&amp;trade; is a suite of software for local market radio that is used extensively by radio station salespeople. It provides access to customized demos, geographies, dayparts and multibook averages. It includes qualitative (80 categories of Retail Spending) as well as quantitative (Ratings, CPP, CPM, etc.) data. You can enter GRP targets for specific dayparts and demos and the system will indicate the number of spots required to achieve them.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.srds.com/portal/main?action=LinkHit&amp;amp;frameset=yes&amp;amp;link=a" target="_blank"&gt;SRDS&amp;reg;.&lt;/a&gt; Owned by Nielsen&amp;reg;, SRDS&amp;reg; (Standard Rate &amp;amp; Data Service) is the leading provider of media rates and data....offering comprehensive coverage of traditional media (magazines, newspapers, television, direct marketing and radio) as well as online and out of home. With 95% of advertising agencies served, it is the largest and most comprehensive database of media rates in the world. It provides an immediate, single source of rates for agency media planners for all media.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.sqad.com/about.cp" target="_blank"&gt;SQAD&amp;reg;.&lt;/a&gt; An acronym for Spot Quotations And Data, Inc., SQAD&amp;reg; provides advertising agencies, media buying services, broadcast and cable stations, etc., instant access to real cost CPMs and CPPs by network and daypart, unit costs, CPMs and CPPs by program category and time period. Cost data is based on actual transactions.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | Next &amp;gt;&amp;gt;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=369670" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/nj-sI1YY88s" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/Media+buying/default.aspx">Media buying</category><category domain="http://community.avid.com/blogs/adman/archive/tags/SQAD/default.aspx">SQAD</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Strata/default.aspx">Strata</category><category domain="http://community.avid.com/blogs/adman/archive/tags/ESRI+GIS/default.aspx">ESRI GIS</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Telmar/default.aspx">Telmar</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Experian+Simmons/default.aspx">Experian Simmons</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Scarborough/default.aspx">Scarborough</category><category domain="http://community.avid.com/blogs/adman/archive/tags/SRDS/default.aspx">SRDS</category><category domain="http://community.avid.com/blogs/adman/archive/tags/SMRB/default.aspx">SMRB</category><category domain="http://community.avid.com/blogs/adman/archive/tags/CACI/default.aspx">CACI</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Tapscan/default.aspx">Tapscan</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2008/12/06/media-planning-amp-research.aspx</feedburner:origLink></item><item><title>Broadcast Media (Part Two).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/ysAjtQgLNcM/broadcast-media-part-two.aspx</link><pubDate>Sun, 24 Aug 2008 02:00:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:349505</guid><dc:creator>Adman</dc:creator><slash:comments>18</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx#comments</comments><description>&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/08/03/broadcast-media-part-one.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/12/03/media-planning-amp-research.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-family: Arial;"&gt;Ok&amp;hellip;we&amp;rsquo;ve established that the proper way to begin
development of a media plan is to establish a GRP target for your proposed
market(s). It is critical to have a sufficient number of GRP&amp;rsquo;s in order to
achieve adequate reach and frequency. GRPs are presented according to
ratings of demographic groups within specific market areas as defined by
&lt;a target="_blank" href="http://www.nielsenmedia.com"&gt;Nielsen&amp;rsquo;s&amp;reg;&lt;/a&gt; proprietary Designated Market Areas (DMAs) [or &lt;a target="_blank" href="http://www.arbitron.com/home/content.stm"&gt;Arbitron&amp;reg; &lt;/a&gt;Area of Dominant Influende (ADI)]. They are presented according to programs or dayparts. Television dayparts include Early Morning (5am-9am), Daytime (9am-4pm), Early Fringe (4pm-8pm), Primetime (8pm-10pm), Late Evening (10pm-1am) and Late Night (1am-5am). &lt;/span&gt;&lt;strong&gt;Broadcast media reaches very large geographic
markets.&lt;/strong&gt; &lt;span style="font-family: Arial;"&gt; &lt;/span&gt;&lt;a href="http://avid.blogs.com/.shared/image.html?/photos/uncategorized/2008/08/21/atlanta_dma_map_render_2.jpg" onclick="return false;window.open(this.href, '_blank', 'width=600,height=640,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"&gt;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Atlanta-DMA4.jpg" /&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; The above map of the Atlanta market (my home market) shows how the
Nielsen DMA encompasses a large part of the state of Georgia, as well as
counties in Alabama and North Carolina [with 2,310,490 TV households, Atlanta
is ranked as the 8&lt;sup&gt;th&lt;/sup&gt; largest DMA]. This is great if you are
promoting a chain of stores with locations throughout the DMA, or a product
such as our skin creme (from the &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/08/03/broadcast-media-part-one.aspx"&gt;previous blog&lt;/a&gt;) which has broad appeal. In
these cases broadcast television would be an efficient buy; possibly more
efficient than other media. On the other hand, if you are advertising a single
store location that draws from a small area you would be wasting money by
reaching beyond your geographic target market. Cable television would be a much
better option [I&amp;rsquo;ll talk about cable TV in an upcoming blog]. Demographics
can change significantly across large geographic areas -- from urban to rural,
upscale to downscale, blue collar vs white collar, etc. Nevertheless, for many
products larger markets mean far better economies of scale. It is the cost per
thousand (CPM) (not overall cost) of reaching your target market that
dictates a solid media buy.&lt;br /&gt;&amp;nbsp;&amp;nbsp; The ratings services have tightly defined market
areas. Nielsen defines their coverage in terms of their proprietary &amp;ldquo;Designated
Market Area&amp;rdquo; or DMA [&lt;a target="_blank" href="http://www.arbitron.com/home/content.stm"&gt;Arbitron&lt;/a&gt; defines theirs as the &amp;ldquo;Area of Dominant
Influence&amp;rdquo; (ADI).] These market areas are ranked annually by market size and
the top-ten Nielsen markets are highly revered. &lt;strong&gt;The current ranking of DMAs is as follows:&lt;/strong&gt;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;
&lt;a href="http://avid.blogs.com/.shared/image.html?/photos/uncategorized/2008/08/21/nielsen_dma_rankings4_3.jpg" onclick="return false;window.open(this.href, '_blank', 'width=600,height=565,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"&gt;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/DMA-rankings6.jpg" /&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; N&lt;strong&gt;ielsen DMAs are areas that receive the same television
programming from a specific group of broadcast television stations.&lt;/strong&gt; There are
210 Nielsen DMAs in the &lt;st1:country-region w:st="on"&gt;&lt;st1:place w:st="on"&gt;United
  States&lt;/st1:place&gt;&lt;/st1:country-region&gt; [286 Arbitron ADIs].&lt;/p&gt;
&lt;p&gt;
&amp;nbsp; &amp;nbsp;Developed in the 1940&amp;rsquo;s by Arthur Nielsen, the Nielsen Ratings are
provided for specific demographic groups (Demos) for each DMA. These ratings
have been measured in a number of ways, including telephone surveys, diaries,
and Set Meters, and People Meters. Out of the 210 measured Nielsen markets, the
56 largest are measured by meter technology. The remainder is measured by
diaries only. &lt;strong&gt;Nielsen measures all local markets during designated
"sweep" months of November, February, May and July.&lt;/strong&gt; The ratings
are used by local stations and cable systems to set local advertising rates and
to make programming decisions. The term "sweep" came from the
beginnings of the ratings system in the 1950's when diaries were mailed and
processed, starting with the east coast and "sweeping" to the west
coast -- people meter markets are measured 365 days a year. The networks go to
great effort to attract viewers during the sweeps...the higher numbers they get
during the sweeps, the more they can charge for advertising time. They are
often criticized for their rates not reflecting typical programming...during
the sweeps there is more special programming and original programming, etc.,
while outside of the sweeps it is more common to see reruns.&lt;br /&gt;
&amp;nbsp; &amp;nbsp;&lt;strong&gt;Nielsen data is expressed as percentages and presented in terms
of rating and share.&lt;/strong&gt; A rating represents people who watch a particular
program or daypart, expressed as a percentage within the universe of all TV
households or a specific demographic group (demo) -- a rating of one represents
one percent of TV Households. Demos are broken into 66 specific age group
segments such as 18-49, 25-54, etc. Share represents the same viewers as a
percentage of TV households or total persons actually watching television
during the program or daypart -- it can be used as gauge of how a program or
daypart competes with other available programs or dayparts.&lt;br /&gt;
&amp;nbsp; &amp;nbsp;Nielsen has recently started providing consumer segmentation based
on socio-economic data from &lt;a target="_blank" href="http://www.claritas.com/claritas/Default.jsp?ci=3&amp;amp;si=4&amp;amp;pn=prizmne"&gt;PRIZM NE&lt;/a&gt; lifestyle group clusters -- Blue Blood
Estates (six figure income executives and professionals), Young Digerati (tech
savvy, fashionable, urban fringe), Bohemian Mix (progressive mix of young
singles, couples, students and professionals), among others...as the ratings
system has been criticized for being quantitative at the expense of
qualitative. Nevertheless, qualitative data is available from numerous other
sources. I will talk more about quantitative vs qualitative analysis in an
upcoming blog.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/08/03/broadcast-media-part-one.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/12/03/media-planning-amp-research.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=349505" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/ysAjtQgLNcM" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/demographics/default.aspx">demographics</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Nielsen/default.aspx">Nielsen</category><category domain="http://community.avid.com/blogs/adman/archive/tags/media/default.aspx">media</category><category domain="http://community.avid.com/blogs/adman/archive/tags/GRP/default.aspx">GRP</category><category domain="http://community.avid.com/blogs/adman/archive/tags/DMA/default.aspx">DMA</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Atlanta/default.aspx">Atlanta</category><category domain="http://community.avid.com/blogs/adman/archive/tags/sweeps/default.aspx">sweeps</category><category domain="http://community.avid.com/blogs/adman/archive/tags/share/default.aspx">share</category><category domain="http://community.avid.com/blogs/adman/archive/tags/rating/default.aspx">rating</category><category domain="http://community.avid.com/blogs/adman/archive/tags/PRIZM+NE/default.aspx">PRIZM NE</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx</feedburner:origLink></item><item><title>Broadcast Media (Part One).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/iOc5hycLIsw/broadcast-media-part-one.aspx</link><pubDate>Mon, 04 Aug 2008 11:57:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343762</guid><dc:creator>Adman</dc:creator><slash:comments>9</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2008/08/04/broadcast-media-part-one.aspx#comments</comments><description>&lt;p style="margin-left: 3pt;" class="MsoBodyText"&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2008/05/03/title-24.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;br /&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p style="margin-left: 3pt;" class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style="margin-left: 3pt;" class="MsoBodyText"&gt;In my &lt;a href="http://community.avid.com/blogs/adman/archive/2008/05/03/title-24.aspx" target="_blank"&gt;last blog&lt;/a&gt;, I mentioned that it is appropriate to
think in terms of Gross Rating Points (GRPs) &amp;ndash; not the number of spots to be
purchased &amp;ndash; when planning broadcast media buys. Here is a short demonstration
using "WXYZ TV"&lt;st1:place w:st="on"&gt;&lt;st1:city w:st="on"&gt;&lt;/st1:city&gt;&lt;/st1:place&gt; a mock, top-ten ACNielsen DMA network affiliate.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; Suppose you want to advertise a
new anti-aging, fat-burning, sun-screening, appetite-reducing, muscle-toning, beautifying, sun-tanning, skin cream product (using
all natural ingredients, of course) that is proven to eliminate cellulose, varicose veins
and love-handles while adding years to one's life. Extensive research indicates that
the primary &lt;a href="http://community.avid.com/blogs/adman/archive/2006/07/18/title-13.aspx" target="_blank"&gt;target market&lt;/a&gt; is Women 18+, stay at home moms. Your client wants to first run the ads in a top-ten, spot television market before going national.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&amp;nbsp; So you call the network affiliates in your test market and request
availabilities (avails) in the DMA for the Female 18+ demographic -- believing
that you need to run the commercial 30 times because your client -- who recently attended a one-day beauty business seminar -- told you so. You take a look at the Morning and Daytime day-parts for your Female 18+ demo for the fourth quarter.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Avails_5F00_Brief_5F00_MOCK.jpg" /&gt;&lt;/p&gt;
&lt;p&gt; &lt;i&gt;[Television viewers are typically loyal to programs as opposed to
stations. Nevertheless, I am using availabilities from a single station for demonstration purposes. The numbers are representative of an actual "top-ten" broadcast TV market.]&lt;/i&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; As you can see in the above "avail," the Female 18+ demo has dramatically different ratings and rates depending on the program. The cost per rating points (CPPs) are also quite different...even among programs specifically targeted to women.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; In the avail, Program "A" (top-rated morning show 1) and program "B's" (morning show 2) adjacent time periods have different numbers when comparing 9a-10a (1.9 rating) vs. 10a-11a. (1.4 rating). The gross rate for the 9-10a slot is $350, considerably higher than the $265 rate for the 10a-11a time period... yet the CPP and CPM are lower for the 9-10a slot. This is a better buy for the Female 18+ demo as you would be reaching 44.2 thousand vs 32.1 thousand at a lower ($7.92 vs $8.26) cost per thousand (CPM).&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; An even better comparsion is made when comparing Program "F" (soap opera) vs Program "G" (homemaking show) which represent programming specifically targeting women. Program "F" gets a 2.7 rating for Females 18+ (reaching 64.4 thousand) while Program "G" only gets a 0.7 rating for the same demo (17.4 thousand). Program "F" has a lower CPP of $203.70 vs $250.00 for Program "G" So, Program "F" is a much better buy -- if you can afford it at $550. &lt;strong&gt;This simple comparison should be enough to discredit the absurd idea of buying media based on a predetermined number of spots for the simple reason that the same number of spots on one program vs another can yield vastly different reach at dramatically different costs.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; A far more viable approach would be to determine how many viewers you can afford to reach with effective frequency. Since the minimum generally accepted frequency is three times, you might want to consider shooting for an even better frequency of four times. If you bought 400 GRPs, you could reach virtually 100 percent of Females 18+ viewers in your DMA with an average frequency of four times. Assuming an average morning and daytime CPP of around $220 (based on your avails) your budget would be $88,000. It would be much more common (trust me) to purchase around 100-150 GRPs per week. So, let's assume that you propose to your client that they purchase 250 GRPs for a two-week flight. At an average CPP of $220, this would result in a budget of $55,000.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; A much quicker method for determining average CPPs would be to refer to &lt;a href="http://www.sqad.com/" target="_blank"&gt;SQAD&lt;/a&gt;. Since SQAD (pronounced "squad") is based on actual buys, it has the added benefit of providing you with a good indicator of what is actually being negotiated and paid vs what is presented by the respective stations on their avails. In addition to being a helpful negotiating tool, SQAD might also be helpful in determining desirable test markets based on average CPP data -- in consideration of buying power index data and other marketing research. At &lt;a href="http://www.davisadvertisinginc.com/" target="_blank"&gt;Davis Advertising, Inc.&lt;/a&gt;, we strive to beat SQAD by a significant amount.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; Your job as a media buyer is now cut out for you -- get your client as much "bang for the buck" as possible by negotiating rates and developing a schedule -- using avails from a variety of broadcast (and cable) stations -- that will improve the numbers significantly, maximizing effective reach and frequency...based on both quantitative and qualitative insight. That will be the subject of an upcoming blog.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2008/05/03/title-24.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2008/08/23/broadcast-media-part-two.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343762" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/iOc5hycLIsw" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/DECA/default.aspx">DECA</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Advertising/default.aspx">Advertising</category><category domain="http://community.avid.com/blogs/adman/archive/tags/target+market/default.aspx">target market</category><category domain="http://community.avid.com/blogs/adman/archive/tags/CPP/default.aspx">CPP</category><category domain="http://community.avid.com/blogs/adman/archive/tags/buying/default.aspx">buying</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Nielsen/default.aspx">Nielsen</category><category domain="http://community.avid.com/blogs/adman/archive/tags/planning/default.aspx">planning</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Broadcast/default.aspx">Broadcast</category><category domain="http://community.avid.com/blogs/adman/archive/tags/media/default.aspx">media</category><category domain="http://community.avid.com/blogs/adman/archive/tags/GRP/default.aspx">GRP</category><category domain="http://community.avid.com/blogs/adman/archive/tags/SQAD/default.aspx">SQAD</category><category domain="http://community.avid.com/blogs/adman/archive/tags/DMA/default.aspx">DMA</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Female/default.aspx">Female</category><category domain="http://community.avid.com/blogs/adman/archive/tags/ACNielsen/default.aspx">ACNielsen</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Demographic/default.aspx">Demographic</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2008/08/04/broadcast-media-part-one.aspx</feedburner:origLink></item><item><title>Media (Introduction).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/UEPj4BKDZKk/title-24.aspx</link><pubDate>Mon, 05 May 2008 07:43:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343399</guid><dc:creator>Adman</dc:creator><slash:comments>81</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2008/05/05/title-24.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/03/18/title-23.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/08/03/broadcast-media-part-one.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;I was honored to serve as the final judge in the 2008
DECA, International Career Development Conference (ICDC) in Atlanta
this past Monday and Tuesday in the &amp;ldquo;Advertising Campaign&amp;rdquo; category. &lt;a&gt;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Deca-Logo.jpg" style="margin: 0px 0px 5px 5px; float: right;" width="225" border="0" height="71" /&gt;&lt;/a&gt;The events were held at the Georgia World Congress Center
and the awards session was at the Georgia Dome.&lt;br /&gt;&amp;nbsp; &amp;nbsp;It was an awesome experience. On Tuesday, I evaluated twenty 20-minute advertising campaign final presentations from the top
high school marketing students in the world.&amp;nbsp;This was a truly humbling experience and I was
impressed to say the least. It was virtually impossible to determine which of
these student teams best deserved to be in the top ten -- much less the top three
finalists! But, ties were not allowed and there had to be three top teams
selected. ALL of the students who made it to Atlanta should be VERY proud!&lt;br /&gt;&amp;nbsp; &amp;nbsp;There was a relatively clear first place
winner. This team's "&lt;a target="_blank" href="http://community.avid.com/blogs/adman/archive/2006/06/20/title-3.aspx"&gt;situation analysis&lt;/a&gt;" actually included a &amp;ldquo;SWOT&amp;rdquo; (Strengths, Weaknesses, Opportunities
&amp;amp; Threats) analysis based on their "&lt;a target="_blank" href="http://community.avid.com/blogs/adman/archive/2006/06/13/title-4.aspx"&gt;secondary research&lt;/a&gt;." As did most of the others, they defined their primary and
secondary &lt;a target="_blank" href="http://community.avid.com/blogs/adman/archive/2006/07/18/title-13.aspx"&gt;target markets&lt;/a&gt; in demographic, psychographic and geographic terms. Their &lt;a target="_blank" href="http://community.avid.com/blogs/adman/archive/2006/08/01/title-11.aspx"&gt;objective&lt;/a&gt;
was specific, workable, measurable and attainable. Their budget was
realistic and comprehensive -- including development costs, production
costs, media costs and agency commissions. They
certainly showed evidence that they understood some of the basics of
the &lt;strong&gt;&amp;ldquo;Journey from Concept to Creation!&amp;rdquo;&lt;/strong&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &lt;strong&gt;Of course, I was thinking about how these high school
students could have REALLY impressed me if only they had been reading my blogs! Hopefully next year&amp;rsquo;s students are reading?&lt;br /&gt;&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; One thing that really impressed me, in addition to the SWOT analysis, was that they mentioned running television spots in
the &amp;ldquo;early fringe&amp;rdquo; time period. Plus, &lt;strong&gt;they actually spoke in
terms of FREQUENCY! &amp;ndash; gasp! &lt;/strong&gt;They also referred to radio
formats as Contemporary Hit Radio (CHR), Adult Contemporary (AC), Album Oriented Rock (AOR),
etc. &lt;strong&gt;They certainly knew how to impress the Adman with advertising lingo.&lt;/strong&gt;&lt;br /&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&amp;nbsp; &amp;nbsp;Regarding my blog topic -- I am convinced that there are
gazillions (possibly even googillons) of dollars totally wasted by those who
are not educated on a few basic principles of media planning and buying. I have heard comments from inexperienced prospective
clients &lt;strong&gt;(who could use a lesson or two from high school DECA kids)&lt;/strong&gt; that go something like, &amp;ldquo;We
think we should buy 30 spots on WXYZ TV.&amp;rdquo; After recovering from my &amp;ldquo;client from
hell red flag alert,&amp;rdquo; I attempt to educate them. &lt;strong&gt;Puhleeze listen carefully -- it AIN'T about how many spots you
are buying!&lt;/strong&gt; 30 spots on one station is NOT the equivalent of 30 spots
on another. Plus, different dayparts (Early Fringe vs Primetime for example) can
reach dramatically different numbers of viewers! &lt;strong&gt;It IS about how many impressions (as measured by ACNielsen) you are making on your target
market (reach). And it is also about reaching your target market a sufficient
number of times (frequency).&lt;/strong&gt;&lt;br /&gt;&amp;nbsp;
&amp;nbsp;This leads to the basic, fundamental formula of broadcast
media buying &amp;ndash; Reach x Frequency = Gross Rating Points (GRP&amp;rsquo;s). So,
when establishing a broadcast television media budget,
it is prudent to first determine the average cost per rating point
(CPP) for
your target market in your market(s) -- as defined by the Nielsen Designated Market Area (DMA). Then determine how many impressions you
can afford to make with sufficient frequency (generally a minimum of
three times). Then figure on the conversion
rate (generally in the two or three percent range) that is typical for
your
industry&amp;hellip;while considering the added value of BRANDING your product or
service
in the market.&lt;br /&gt;&amp;nbsp; Now, when I hear something like, &amp;ldquo;We are budgeting for XXX GRP&amp;rsquo;s per week, based
on the average CPP of $XXX (according to &lt;a href="http://www.sqad.com/"&gt;SQAD&lt;/a&gt;)
in the target DMA for our Adults
25-54 demo&amp;hellip;&amp;rdquo; I am as pleased as a DECA student after winning first
place in the DECA ICDC awards session at the Georgia Dome in the
Advertising Campaign category... celebrating by getting wet from the
fountains at the Centennial Olympic Park after visiting the Georgia
Aquarium and the World of Coke... with a front row seat at the NBA
playoffs in the Phillips Arena watching the Atlanta Hawks beat the
Boston Celtics... while enjoying Georgia peanuts and a Coke... with
tickets for the studio tour at CNN..followed by tickets for "The Lion
King" at the Atlanta Civic Center... or perhaps another show at the
Fabulous Fox Theater...or Six Flags over Georgia...or the Stone
Mountain Laser (and fireworks) Show? -- While it may sound like
alphabet soup to you -- to the seasoned media professional it is music
to the
ears&amp;hellip;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;To be continued...&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/03/18/title-23.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/08/03/broadcast-media-part-one.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343399" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/UEPj4BKDZKk" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/DECA/default.aspx">DECA</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Advertising/default.aspx">Advertising</category><category domain="http://community.avid.com/blogs/adman/archive/tags/target+market/default.aspx">target market</category><category domain="http://community.avid.com/blogs/adman/archive/tags/research/default.aspx">research</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Media+buying/default.aspx">Media buying</category><category domain="http://community.avid.com/blogs/adman/archive/tags/marketing/default.aspx">marketing</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2008/05/05/title-24.aspx</feedburner:origLink></item><item><title>Typography (Part Three).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/jSwSaiZ7hWE/title-23.aspx</link><pubDate>Thu, 20 Mar 2008 21:43:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343398</guid><dc:creator>Adman</dc:creator><slash:comments>22</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2008/03/20/title-23.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2007/10/13/title-22.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2008/05/03/title-24.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;A long, long (really long) time ago I promised to offer some tips on
typography. At long last, here they are. I hope they were worth the
wait. My blog had to take the back seat for a few weeks...ok, months if
you insist on counting the holidays. But never fear, I am still
here...sort of like that nagging cough that you can't get rid of...
But, deep down inside, I know you have missed me. I am so charming and
witty...&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p&gt;&amp;nbsp;
&amp;nbsp;So....here are some general tips for specifying type. They are in no
particular order as none is necessarily more important than another.
Remember that these are
just basic guidelines...as you become more practiced as a designer, you
can start to break some (but not all) of the rules.&lt;/p&gt;
&lt;ul&gt;
&lt;li&gt;*&amp;nbsp; Ideally, stick with the same type family for any
given job. Get variety by changing the size and blackness -- and by using
condensed and expanded versions and italics.
&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; While it is permissible to mix a body face with
a headline face, stay away from mixing two headline faces.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Constrain mixing to two faces -- three at the
most.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Typestyles designed during the same time period do
not necessarily go together&amp;hellip; the character of the letters are a much better
barometer to use when mixing types.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Old style Romans and Modern Romans do NOT go
together and should never be combined.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Typestyles with different &amp;ldquo;x-heights&amp;rdquo; provide
different degrees of weight when set as body copy. They can be used to help
balance your layout...just as the "weight" of the letters.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Sans serif fonts can be used with almost any
other typestyle. They are considered to be a neutral fonts.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Sans serifs should NOT be mixed with slab serif
fonts.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Type mixing is mostly a matter of having good taste and
artistic talent.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; As a general rule, only mix types that are
either very similar or very dissimilar. Others will appear to the reader as
being convoluted &amp;ndash; as if something is amiss.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; When using colorful type, go a little larger and
fatter than using black to compensate for the lack of darkness.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Never use small, weak serifs when reversing type
or for use in Standard Denition video. Sans serif fonts are preferable in
these applications.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Consider the use of ligatures, especially in
headlines and logotypes. They can sometimes provide a more artistic or cleaner
look. (Assuming the chosen font supports them, they can be found in the
Character Map (Windows) or Key Caps (Apple) or by selecting &amp;ldquo;automatic ligature
substitution&amp;rdquo; in your application.)&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Explore the character map (Windows) or key caps
(Mac) for special characters that aren&amp;rsquo;t available via the keyboard&amp;hellip; learn the
keyboard shortcuts for frequently used special characters.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Avoid script and cursive fonts that were
designed to mimic handwriting. None of these fonts can adequately mimic
handwriting and they only look phoney.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Generally, avoid using the Old English font. It is difficult to
read and it tends to attracts attention to itself at the expense of the message.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; For web design work, consider using Georgia
(serif) and/or Verdana (sans serif). These FREE, high x-height fonts were
designed to be legible on computer screens. They also work well with video
monitors. For other suitable fonts, look for high x-heights, extended versions
and &amp;ldquo;hinted&amp;rdquo; fonts. Bitstream, ITC and Monotype offer fonts with hinting.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Roman (serif) fonts are considered to be easier
to read when used as body copy. The serifs form an &amp;ldquo;imaginary&amp;rdquo; line, helping to
hold the eye on the line as it is read from left to right. Most magazines use
Roman typefaces exclusively for body copy.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; When working with type, &amp;ldquo;being different&amp;rdquo; is not
a virtue. Through habit, readers are accustomed to seeing certain standards in
typography. Change, in this case, can result in lower readership and/or
legibility.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Break paragraphs into columns no more than 39
lower-case characters wide. The bigger the type, the wider the columns can be.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Drop caps can also be used to help draw the
reader into your body copy, easing the reader from larger headlines to the body
copy. But, the drop cap must be unied with the copy in terms of tone and mood.
(Some designers consider drop caps as being dated.)&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Take &amp;ldquo;quality time&amp;rdquo; to manually kern your
headlines. Kern them so that they are optically balanced. Properly "kerned" headlines are the mark of a true professional.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; As a "rule of thumb" &amp;ndash; leading should be 120% of the
point size.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; Use &amp;ldquo;hinted&amp;rdquo; fonts when possible.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; In the early stage of type specication, rst
think in terms of classications or categories of type, (Gothic vs. Roman.
Old-style Roman vs Transitional Roman)&amp;hellip; then narrow it down to a specic
typestyle.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; In addition, I suggest that you get into the
habit of looking at the work that is out there&amp;hellip; and consider the type choices
that were used&amp;hellip; and why.&lt;/li&gt;
&lt;li&gt;&lt;span style="font-family: Symbol;"&gt;*&amp;nbsp; I&lt;/span&gt;f you cannot nd a specic type name, it may be
listed under a different name as different vendors often have equivalent fonts
under different names. Apparently, it is easier to copyright typestyle names than the
actual designs themselves.&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; User proper typesetting conventions &amp;ndash; real typographic
&amp;ldquo;curly&amp;rdquo; quotation marks, real EN dashes (hyphens separating numbers, etc.) and
REAL EM dashes (longer marks separating thoughts &amp;ndash; most page layout programs
will convert these automatically when you type two subsequent hypens (which is
proper when using a standard typewriter).&lt;/li&gt;
&lt;li&gt;*&amp;nbsp; When doing layouts, it is a good idea to look at
pages &amp;ldquo;in context.&amp;rdquo; For example, if you are doing a DVD cover, do each panel
independently as it will be viewed by the purchaser of the DVD. If a magazine
ad, you may want to position it in an actual magazine to see how it will look
in-context as well. This may affect your choice of fonts and/or the relative
point sizes, etc., of the work.&lt;/li&gt;
&lt;/ul&gt;
&lt;ul&gt;
&lt;/ul&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; Alright... that ends the series on Typography. I'll let you ponder
the subject of my next blog...but I'll try not to wait too long this
time. I can only use the "holidays" excuse once a year.&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2007/10/13/title-22.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2008/05/03/title-24.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343398" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/jSwSaiZ7hWE" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/fonts/default.aspx">fonts</category><category domain="http://community.avid.com/blogs/adman/archive/tags/typography/default.aspx">typography</category><category domain="http://community.avid.com/blogs/adman/archive/tags/graphic+design/default.aspx">graphic design</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Bitstream/default.aspx">Bitstream</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Monotype/default.aspx">Monotype</category><category domain="http://community.avid.com/blogs/adman/archive/tags/ITC/default.aspx">ITC</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2008/03/20/title-23.aspx</feedburner:origLink></item><item><title>Typography (Part Two).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/XW7qeaph_FU/title-22.aspx</link><pubDate>Fri, 19 Oct 2007 21:42:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343397</guid><dc:creator>Adman</dc:creator><slash:comments>8</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2007/10/19/title-22.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/08/17/title-20.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/03/18/title-23.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The reason for proper type specification
is simple -- select the typestyle that will best deliver your message.
Designers are
known to spend hours looking for just the right font to do just that.
There are gazillons of typestyles from which to choose. The selection
must be inviting to the eye and
appropriate to the message. It should be consistent with the tone and
manner of
the creative program. It should also be legible (although it is
sometimes used more as a graphic treatment). &lt;strong&gt;While type selection is
primarily a matter of artistic taste, it is beneficial to be educated about
the history of typography and the story behind commonly used fonts.&lt;/strong&gt;&lt;/span&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &amp;nbsp;It all started
with the Egyptian alphabet (actually part alphabet and part picture writing),
then the Phoenicians (based on trade rather than literary purposes) borrowed
from the Egyptians and created an alphabet consisting solely of what we call
consonants. Then the literary-minded Greeks came into the fray, adding vowels
and giving it the name "alphabet" that we all know and love today. Then the
Romans modified that. While there are some 200 alphabets, with over 50 in use
today, the English alphabet, consisting of 26 letters (derived from the Romans)
is the world's most widely used. Whew, breaking down all those centuries into
one short paragraph was really hard to do. But, there is much more to the
story.&lt;br /&gt;&amp;nbsp; &amp;nbsp;From Johannes Gutenberg's time (c.1400-1468) -- basically credited with the invention of moveable type printing -- to
the eighteenth century, type designs were calligraphic (based on handwriting).
The character and flow of handwriting was the result of the shape of writing
instruments (reeds, brushes, wax tablet styluses). When letters were first cut
and punched in metal, they were inspired by the broad-nibbed pen that was used
at the time for writing. The pen would be turned at a slight angle resulting in
thick and thin markings on the writing surface. &lt;strong&gt;These markings were the
inspiration for Roman typefaces which are based on ancient stone
carvings.&lt;a&gt;&lt;img src="http://community.avid.com/resized-image.ashx/__size/375x208/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/useful_5F00_type_5F00_terminology_5F00_2.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="375" height="208" /&gt;&lt;/a&gt;
&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;Fortunately, the gazillions of
typestyles are classified.&lt;strong&gt; They fall into four main categories of Roman,
Gothic, script and ornamental (decorative).&lt;/strong&gt; Typestyles can be further classied
into broad groups sometimes called "races," as follows:&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Old-Style
Romans&lt;/strong&gt; (15&lt;sup&gt;th&lt;/sup&gt;-17&lt;sup&gt;th&lt;/sup&gt; century) -- thick and thin strokes with
serifs. The difference between the thick and thin strokes is small and the
serifs appear to merge into the main strokes.
 The axis of the strokes is "tipped" to the left. The serifs may be at slightly different angles and they
are almost always bracketed. They can have slight imperfections, adding to
their unique charm. Based on early Roman letters carved into majestic columns,
they are both beautiful and most legible -- "warm and friendly."
Common examples would include Bembo, Caslon, Garamond and Souvenir.&lt;img src="http://community.avid.com/resized-image.ashx/__size/375x208/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Old_5F00_style_5F00_roman.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="375" height="208" /&gt;
&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Modern
Romans&lt;/strong&gt; (late 18&lt;sup&gt;th&lt;/sup&gt; century) --&amp;nbsp; thick and thin strokes with serifs, but
the difference between them is more pronounced. Serifs are stiff, straight and
unbracketed. They have a more precise geometric design. Legibility is not
quite as good as old-styles, although they are preferred by some typographers. Bodoni
is a classic example.&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Modern_5F00_romans_5F00_3.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="375" height="208" /&gt;
&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Transitional
Romans&lt;/strong&gt; (mid 18 century) -- Some of the old style characteristics, some of the
modern. Baskerville is a beautiful typeface that is lighter than the usual
old-style, yet less mechanical than the moderns. Other examples include Fournier and Times Roman.&lt;br /&gt;&lt;span style="font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; font-family: 'Times New Roman';"&gt;&amp;nbsp;&lt;/span&gt;&lt;strong&gt;Sans
Serifs&lt;/strong&gt; (19&lt;sup&gt;th&lt;/sup&gt;-20&lt;sup&gt;th&lt;/sup&gt; century) -- Originally considered unappealling by purists, hence the name Grotesque or Gothic,
 there are three distinct types:&lt;br /&gt; 1) &lt;a href="http://en.wikipedia.org/wiki/Bauhaus"&gt;Bauhaus inspired&lt;/a&gt; with formal proportions such as
 Futura and Spartan, 2) the
&lt;a href="http://en.wikipedia.org/wiki/Swiss_Style"&gt;Swiss-inspired&lt;/a&gt; gothics and
 grotesques which are less geometric and mo&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/San_5F00_Serifs.jpg" /&gt;re
sophisticated such as Helvetica (Latin for Swiss -- the names often reflect Swiss origin) and Univers, and 3) &lt;a href="http://en.wikipedia.org/wiki/Category:Humanist_sans-serif_typefaces"&gt;Humanist&lt;/a&gt; typefaces which look more like they were created by human hands, including types with thick and
thin strokes but no serifs like Optima (&lt;a href="http://en.wikipedia.org/wiki/Hermann_Zapf"&gt;Zapf&lt;/a&gt; Humanist), Radiant and Broadway. Other examples are News Gothic, &lt;a href="http://en.wikipedia.org/wiki/Adrian_Frutiger"&gt;Frutiger&lt;/a&gt;, and Gill Sans.&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Slab
Serifs&lt;/strong&gt; (19&lt;sup&gt;th&lt;/sup&gt; century) -- The serifs and strokes are the same
thickness. They have been known as "antiques" and "Egyptians" and some of the
family names reflect Egyptian influences: Cairo,
Karnak, Stymie, Memphis,etc. 
Slab serifs can make good headlines but lack legibility when used as body
copy. When they have bracketed serifs and some difference in stroke thickness
such as Clarendon, they tend to have more grace and beauty. &lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Slab_5F00_serifs.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="375" height="208" /&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Decorative--Ornamental&lt;/strong&gt;
(19&lt;sup&gt;th&lt;/sup&gt;-20&lt;sup&gt;th&lt;/sup&gt;
century) -- While these typefaces can be given separate headings such
as Old English,
 Latins, etc., I prefer to lump them into this
group.
 These are fonts that do not fit into other groups. They are
useful for advertising headlines if and when they convey the mood of
the message..seldom if ever useful for body copy. Examples are P.T.
Barnum, Cooper Black, Goudy Handtooled, Griffon Shadow,&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Decorative.jpg" /&gt; etc. They often
have names that are descriptive of their tone and mood.&lt;strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;Script-Cursive&lt;/strong&gt;
(19&lt;sup&gt;th&lt;/sup&gt;-20&lt;sup&gt;th&lt;/sup&gt;
century) -- Script fonts are meant to mimic cursive handwriting. The
problem is that they simply
 cannot do so convincingly. So,&amp;nbsp;
here is a
tip -- it is, IMHO, best to avoid using them. They lack the
irregularity of true handwriting, hence they tend to look phony. If you
want a true script, turn to a professional calligrapher. Btw, when the
letters do not join, technically they are called "cursive." Examples of
scripts include Commercial Script, Brush and Kaufman.&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;Grunge&lt;/strong&gt; (1995) -- Designed more for image than legibility, Grunge has
become a big enough movement to warrant its own category. It represents
a large collection of "dirty" typefaces -- an outgrowth of postmodernism and deconstructionism. &lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Script.jpg" /&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;Inside these categories are the many "families" of type.
Families are divided into series and the series are divided into fonts.
Bodoni,
for example is a "family" in the category of Modern Roman. Ultra Bodoni
is a
series and 24 point Bodoni is a font within the series. Within a
particular
font, there can be a variety of faces, i.e. all caps, small caps, caps
small
caps, caps and lower case (upper case and lower case terminology comes
from early handset type cabinets where capital letters were in the
upper section and small letters were kept in the lower part of the
"type case"), all lowercase, all caps italic, caps and lowercase
italic and all lowercase italics...adding boldface, expanded, condensed
and
letterspaced versions results in hundreds of faces -- all of which can
be used
in different sizes. The result? Gazillions of typestyles from which to
choose.&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Grunge.jpg" /&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;I should point out that I have really only scratched the surface
here...attempting to offer a concise overview and a useful reference.
In my next blog, Typography (Part Three), I will try to offer some
additional resources and tips for choosing appropriate fonts. Oh...
didn't I promise that in my &lt;a href="http://community.avid.com/blogs/adman/archive/2007/08/17/title-20.aspx"&gt;last blog&lt;/a&gt;? I guess I lied -- or just ran
out of room. Is patience not a virtue?&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&lt;strong&gt;[Edit] &lt;br /&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&lt;strong&gt;I can't stand the guilt, so here is your first tip:&lt;br /&gt;&lt;span style="font-family: Symbol;"&gt;&amp;middot;&lt;span style="font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; font-family: 'Times New Roman';"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;In
the early stages of type specication, think in terms of classications
or categories of type (sans serifs (Bauhaus vs. Swiss vs. Humanist) vs
slab serifs vs. Roman
(Old-style vs. Modern vs. Transitional). Decorative, Grunge, etc.), --
pick one of the more commonly used fonts in your chosen category and
"rough" it in -- your potential choices are now far fewer -- then
narrow it to a specic
typestyle(s).&lt;/strong&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/08/17/title-20.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2008/03/18/title-23.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343397" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/XW7qeaph_FU" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/typography/default.aspx">typography</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Gothic/default.aspx">Gothic</category><category domain="http://community.avid.com/blogs/adman/archive/tags/ornamental/default.aspx">ornamental</category><category domain="http://community.avid.com/blogs/adman/archive/tags/script/default.aspx">script</category><category domain="http://community.avid.com/blogs/adman/archive/tags/typestyles/default.aspx">typestyles</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Roman/default.aspx">Roman</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2007/10/19/title-22.aspx</feedburner:origLink></item><item><title>Typography (Part One).</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/svWAEgi1db4/title-20.aspx</link><pubDate>Fri, 24 Aug 2007 16:42:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343395</guid><dc:creator>Adman</dc:creator><slash:comments>349</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2007/08/24/title-20.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2007/06/26/title-21.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2007/10/13/title-22.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;My early experience with typography goes way back to grade
school. I designed my own type-style that I used in official documents
for my fourth grade class. Classmates had to sign an
agreement (or else!). So, for example, if you were the target of an errant
spitball or two, you
were bound by oath not to tell on anyone. Ironically, the ones who had
spitballs on the floor around their desk would be the ones who always
got in
trouble. But the kids always seemed to honor their oath. The fact that
the document was done in my "calligraphy" helped
to ensure that it would be considered &amp;ldquo;official, legal and binding.&amp;rdquo;&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p&gt;
				&amp;nbsp; &amp;nbsp;As mentioned in a &lt;a href="http://community.avid.com/blogs/adman/archive/2006/05/23/hold-on-to-your-hat.aspx"&gt;previous blog&lt;/a&gt;, I started drawing at an early age. I was inspired by a popular artist, &lt;a href="http://en.wikipedia.org/wiki/Ed_Roth"&gt;Ed
&amp;ldquo;Big Daddy&amp;rdquo; Roth&lt;/a&gt;,
who ran ads featuring his&amp;nbsp;&lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Hockey-Player.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="180" /&gt;hot-rod drawings in car magazines.
 
I was further
inspired by the great "big-block"
muscle cars -- Road Runners, GTOs, Super Bee's,
Chargers, Challengers, 426 Hemi 'cudas, Dusters, Old's 442s, Camaro
Z-28s,
Mustang Cobra GTs, Trans Ams, etc. My interest was also
aroused by the fact that my friend&amp;rsquo;s father (two doors down) was &lt;a href="http://www.dragracingonline.com/martinchronicles/iv_1b.html" target="_blank"&gt;Buster Couch&lt;/a&gt; -- the Chief Starter for the National Hot Rod Association
(NHRA). He and his wife Ann loved the neighborhood kids; often taking us horseback riding, to the movies, and the drag strip.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&amp;nbsp; Plus, in addition to being into model building and slot-car
racing (and flying downhill in homemade go-carts), I was even further
inspired by happenings in my neighborhood. I lived near the crest
of a very steep hill on a street
between my grade school and high school. When I wasn't waking the dead
playing my drums or playing pick-up football, basketball or baseball
games, I would be having a blast (along with my beautiful and beloved German Shepherd, "Napoleon") watching &amp;ldquo;smoke city.&amp;rdquo; After
school (with police lookouts bearing walkie talkies) the kids would line
up in their "tricked-out" muscle cars&amp;hellip; pour bleach all over
the fat rear
tires&amp;hellip; rev the engine while letting the car roll backwards&amp;hellip; &amp;ldquo;dump&amp;rdquo; the
clutch and &lt;a href="http://www.youtube.com/watch?v=7pIZn9rUsRY&amp;amp;mode=related&amp;amp;search="&gt;&amp;ldquo;burn out."&lt;/a&gt; The smell of burned rubber and layers
of smoke
would permeate the scene. Some would go to second gear before the
car would start moving forward&amp;hellip; a few could &amp;ldquo;get rubber&amp;rdquo; in all four
gears. What more could a little kid want?&amp;nbsp; &lt;strong&gt;Life was good.&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;A few years later, another friend who lived down the street, asked to borrow my
notebook of car drawings to show his dad. I reluctantly agreed. His
father recognized my world-class artistic genius and I found
myself
working nights, weekends and summers in the art department of his
offset
printing company.&lt;br /&gt;&amp;nbsp; &amp;nbsp;My digs included a large, hydraulically
controlled drawing
table equipped with T-Squares, triangles, X-Acto knives, non-photo blue
pencils and a hot wax machine
for "paste-up." There was
also a dark room and a very cool "process camera"
that was
built into the wall of the darkroom. As a 10th grade creative
professional, I learned to mix chemicals, shoot mechanicals and
photos,&amp;nbsp; develop film negatives in a tray (line, half-tones and color
separations), "strip" negatives and burn plates for press.&lt;br /&gt;&amp;nbsp; &amp;nbsp;I was drawn to the typesetting equipment like a tick to a dog&amp;rsquo;s ear. &amp;nbsp;There were
three types of typesetting machines at my disposal... two were &amp;ldquo;hot
type&amp;rdquo; machines -- a couple of Mergenthaler Linotype machines and a&lt;st1:city w:st="on"&gt;&lt;/st1:city&gt; Ludlow. &lt;img src="http://community.avid.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Linotype.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" /&gt;There was also a &amp;ldquo;cold type&amp;rdquo; machine -- the Phototypositor. Although the hot-type equipment we had was quite obsolete, I am extremely grateful that I had
the opportunity to experience it. I am more grateful that I was never burned by the hot molten
lead. I&amp;rsquo;ve heard horror stories.&lt;br /&gt;&amp;nbsp; &amp;nbsp;As the &amp;ldquo;apprentice&amp;rdquo; I got to fill the molds
with hot
lead and hang the hardened &amp;ldquo;pigs&amp;rdquo; on the machines. To change fonts,
you would insert heavy type font &amp;ldquo;magazines&amp;rdquo; into the slots at the top
rear of the Linotype machine. There were separate magazines for each
point size. They
contained the matrices (&amp;ldquo;mats") -- each of which contained one
alphanumeric
character which was engraved into the side.&amp;nbsp;
As you hit the key on the keyboard a mat would fall
into place. There
were also spacing bands that would fall down when the space-bar was
pressed. Ingeniously, they were tapered so that they would fill the
line out for justified columns. Each mat also had its
character printed on it so that the operator could read the line before
pressing
the lever that would send it to the mold where the hot lead would be
squirted. A
few seconds later, while the operator was typing the next line, a
&amp;ldquo;slug&amp;rdquo; would
fall out in a tray beside the previous one and the lead "pig" would be
lowered slightly into the melting pot. When the tray was filled, the
slugs would be placed into "galleys" and into the proofing press. Thin lead strips would be placed between the lines to adjust
the line spacing (leading). After the slug was cast, a long "elevator"
arm would lift
the entire line of type up and to the rear of the machine where a
keying mechanism
would turn... sending them back to their correct slot in the
magazine. Gravity would do the rest. The proofs would be waxed, cut and pasted on
the "pasteup" or &amp;ldquo;mechanical" by the resident world-class artistic genius talent.&lt;br /&gt;&amp;nbsp; &amp;nbsp;The other "hot type" machine was the &lt;a href="http://www.l90.org/view/G1Dnu8uYcWc/ludlow-typesetting/"&gt;Ludlow&lt;/a&gt;.
It was a "hand set" machine used for type
headlines. The "cold type" &lt;a href="http://bellsouthpwp2.net/b/c/bcarberry/tp.html"&gt;Phototypositor&lt;/a&gt; was also for headlines -- letters were visually selected and spaced. &lt;a onclick="window.open(this.href, '_blank', 'width=503,height=483,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false" href="http://avid.blogs.com/.shared/image.html?/photos/uncategorized/2007/09/03/phototypositor_3.jpg"&gt;&lt;img src="http://community.avid.com/resized-image.ashx/__size/225x216/__key/CommunityServer.Components.UserFiles/00.00.02.47.72/Phototypositor_5F00_3.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="225" height="216" /&gt;&lt;/a&gt;
It was a predecessor of photographic computer typesetting equipment
that I have used throughout my advertising career -- culminating with
the Compugraphic adVantage page makeup system. It was a gazillion
dollar behemoth with a color coded template/legend and a corded stylus
-- networked to satellite Compugraphic typesetters and a large
processor for outputting phototype galleys. In spite of its
sophistication and high price (and the capability for the operator to
trace visuals for positioning), it was not "WYSIWYG."&lt;strong&gt; The operator still had to insert arcane codes to specify fonts, point size, leading, kerning, margins, etc.&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp;Advertising agency copywriters or art directors would "spec" type (using type reference books and copyfitting techniques) and
send out to thriving type shops such as "Swift Tom's" here in Atlanta. The phototype proofs were delivered by courier.&lt;br /&gt;&amp;nbsp; &amp;nbsp;Type shops and Compugraphic typesetting systems eventually gave way to the first "desktop publishing" software offerings (&lt;a href="http://en.wikipedia.org/wiki/Ventura_Publisher"&gt;Ventura Publisher &lt;/a&gt;(my
personal preference at the time) and Pagemaker). This lead to
phototypesetting (e.g. Linotronic) service bureaus which produced
phototype galleys from client supplied files. Service bureaus were
eventually made extinct by "direct to plate" imaging equipment. These
days, *.pdf files are simply emailed directly to the printer.&lt;br /&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt;While technology is ever-changing, design fundamentals and principles remain constant.&lt;/strong&gt;
So my next blog will focus on the more "timeless" principles of
typography... and I'll try to offer some useful tips and resources..&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2007/06/26/title-21.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2007/10/13/title-22.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343395" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/svWAEgi1db4" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/fonts/default.aspx">fonts</category><category domain="http://community.avid.com/blogs/adman/archive/tags/typography/default.aspx">typography</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Buster+Couch/default.aspx">Buster Couch</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Ludlow/default.aspx">Ludlow</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Linotype/default.aspx">Linotype</category><category domain="http://community.avid.com/blogs/adman/archive/tags/process+camera/default.aspx">process camera</category><category domain="http://community.avid.com/blogs/adman/archive/tags/leading/default.aspx">leading</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Compugraphic/default.aspx">Compugraphic</category><category domain="http://community.avid.com/blogs/adman/archive/tags/point+size/default.aspx">point size</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Big+Daddy/default.aspx">Big Daddy</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Ed+Roth/default.aspx">Ed Roth</category><category domain="http://community.avid.com/blogs/adman/archive/tags/NHRA/default.aspx">NHRA</category><category domain="http://community.avid.com/blogs/adman/archive/tags/kerning/default.aspx">kerning</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Phototypositor/default.aspx">Phototypositor</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Buster/default.aspx">Buster</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Couch/default.aspx">Couch</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Ed/default.aspx">Ed</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Roth/default.aspx">Roth</category><category domain="http://community.avid.com/blogs/adman/archive/tags/drag+racing/default.aspx">drag racing</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2007/08/24/title-20.aspx</feedburner:origLink></item><item><title>Color.</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/8KFSw6cGDQk/title-21.aspx</link><pubDate>Sun, 01 Jul 2007 14:42:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343396</guid><dc:creator>Adman</dc:creator><slash:comments>0</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2007/07/01/title-21.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/05/25/title-19.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/08/17/title-20.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;I was doing a demo recording for a friend a few years ago.
The subject of choosing colors came up while I was working on the CD
cover design. I remember her saying that she was impressed with my
taste in
choosing a good color scheme, claiming that it is a talent that few men
possess. While there is "method to the madness" of choosing
compatible colors for use in design work, I didn&amp;rsquo;t mention it to her at
the time. I preferred to let
her believe that I had creative talent that few men possess. While an exhaustive study of color theory could fill many
books, I will cut to the chase and try to
offer a concise and useful overview.
&lt;/p&gt;
&lt;p&gt;&lt;img src="http://community.avid.com/resized-image.ashx/__size/325x350/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Color-Wheel-Tertiary.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="255" height="275" /&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &amp;nbsp; Specifying color is largely a matter of understanding the
color wheel &amp;ndash; first developed by Sir Issac Newton (a man) in 1667 &amp;ndash; which is
centered on a logically organized sequence of pure color hues. It
was refined b&lt;img src="http://community.avid.com/resized-image.ashx/__size/375x0/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Color-Wheel-Tertiary.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="275" height="0" /&gt;y Albert H. Munsell (another man) in 1905.&lt;br /&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp; Munsell also introduced the concept of Hue, Chroma (Intensity or Saturation) and
Value. The order of
colors on the color wheel follow the order of colors seen when light is
shown through a prism. The color wheel is made up of three primary,
three
secondary, and six tertiary colors &amp;ndash; a total of 12 basic hues. The
three
primary colors are red, yellow and blue. Mixing them creates the
secondary colors; green, orange
and purple. The Tertiary Colors are formed by mixing a primary color
with a
secondary color. They are yellow-orange, red-orange, red-purple,
blue-purple,
blue-green and yellow-green.&lt;br /&gt;&amp;nbsp; &amp;nbsp; &lt;b&gt;When specifying color, it is necessary to understand how color
impacts people.&lt;/b&gt;&lt;br /&gt; Here are a few examples:&lt;/p&gt;
*&amp;nbsp;&amp;nbsp; Color choices should reflect your &lt;a href="http://avid.blogs.com/concept_to_creation/2006/07/french_kiss.html#more"&gt;target market&lt;/a&gt; (women -- far more "color conscious" than men -- like red while men like blue) as
well as the other strategic factors mentioned in my blogs, depending
on the mood you want to convey and the emotional response you want to
elicit.&lt;br /&gt;*&amp;nbsp;&amp;nbsp; Color choices should reflect the culture and religion where your
work will be seen as color can have different meanings in different
parts of
the world (there is no proven &amp;ldquo;universal reaction&amp;rdquo; to colors). For
example, white is associated with death in eastern cultures as black is
in the west.&lt;br /&gt;*&amp;nbsp;&amp;nbsp; An object shown in a bright color looks larger than the same object
shown in a dark color. Bright color "radiates," drawing the eye outward
and expanding the object. If you are selling "size," you might consider
using a brightly colored sample of the merchandise. &lt;br /&gt;*&amp;nbsp;&amp;nbsp; Hermann Rorschach, the Swiss psychologist found that cheerful
people are more responsive to color while melancholy people respond
better to shape. If you want to limit your market to those who
have a more serious
interest, you might want to keep the color subdued as
color allows the viewer to be somewhat more passive... weeding out
lukewarm prospects.&lt;br /&gt;*&amp;nbsp;&amp;nbsp; Color has been proven to be far more effective (up to 70%) in advertising than
black and white... the added cost in printing color is marginal by
comparison.
&lt;ul type="disc"&gt;
&lt;/ul&gt;
&lt;ol&gt;





&lt;/ol&gt;
&lt;ul&gt;
&lt;/ul&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &amp;nbsp; Red is considered to be a &amp;ldquo;Hot&amp;rdquo; color.
It can stimulate physical activity and sexual desire&amp;hellip; passion,
aggression and anger. It can make people feel hungry and increase
respiration and blood pressure. You
can use it for emphasis, although it was drilled into my head in art
school
that yellow is the &amp;ldquo;most advancing color&amp;rdquo; &amp;ndash; &lt;b&gt;it will draw the eye first&lt;/b&gt;.
Yellow can symbolize joy, happiness, wealth, hope, weakness, greed and
friendship. Yellow
and Black symbolize danger or caution. White is purity and truth.
Violet is royalty... and loneliness. Green is fresh and fruitful...
envy and guilt. "True blue" is fidelity. &lt;b&gt;In fact, every color has symbolism that can be used to
affect your market (color can also be used to implement
principles of design, but it is subordinate to shape).&lt;/b&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp; Blue, Green and Blue-Green are considered to be &amp;ldquo;Cold&amp;rdquo;
colors. They denote coldness, cleanliness and freshness -- explaining why these
colors are so popular in laundry detergent package design. Warm colors are based on red but &amp;ldquo;softened&amp;rdquo; and suffused
with orange and yellows. Cool
colors are based on blue and suffused with reds and yellows. &lt;b&gt;Warm colors cheer and stimulate while cool colors calm and relax.&lt;/b&gt;&lt;br /&gt;&amp;nbsp;
&amp;nbsp; Combinations of warm grays and cool grays are often used for shadows
in renderings; usually resulting in more a realistic look when compared
to using
black. Artists also use a color&amp;rsquo;s complement to create shadows (sunlit
objects in nature will have shadows with a hint of the object color's
complement). When you stare at a color and then look at a white sheet
of paper you will see a "ghost" of the color's complement. &lt;br /&gt;&amp;nbsp; &amp;nbsp; &lt;b&gt;While
any color can be combined (as in nature) if you choose the correct
value and intensity, aesthetically pleasing color combinations have
been found to lie with colors on opposite ends of the color wheel
(complements), equidistant from each other (triads), those that lie on
either side of the color (blended) or on either side of the
complementary color (split complementary).&lt;/b&gt;&amp;nbsp;&lt;img src="http://community.avid.com/resized-image.ashx/__size/325x350/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Color-Wheel-latest.jpg" style="margin: 0px 0px 5px 5px; float: right;" border="0" width="260" height="275" /&gt;
The closer colors are on the color wheel, the more harmonious they are.
Colors on opposite sides complement each other. Use of color in design
should be mostly harmonious or mostly complementary; mostly cool or
mostly warm.
There are numerous color
schemes -- achromatic, monochromatic, analogous, complementary,
triadic,
rectangular, pentagonal, etc. &lt;b&gt;Achromatic&lt;/b&gt; schemes consist of blacks, whites and neutral
grays. &lt;b&gt;Monochromatic&lt;/b&gt; schemes are based on one color and its
various tints and shades. &lt;b&gt;Analogous&lt;/b&gt; schemes are three colors that are adjacent to
each other on the color wheel. The &lt;b&gt;Primary&lt;/b&gt; color scheme is made up of the three primary
colors&amp;hellip; strong and energetic, it is often used in
designs targeting children. &lt;b&gt;Secondary&lt;/b&gt; color schemes are also
strong and energetic but more sophisticated.&lt;br /&gt;&amp;nbsp; &amp;nbsp; Here are a couple of links that help to make the task of color specification easier, if not a "no brainer." Check out &lt;a href="http://colorblender.com/"&gt;Color Blender&lt;/a&gt; and &lt;a href="http://kuler.adobe.com/"&gt;Kuler.&lt;/a&gt;
They are awesome resources for specifying color. With tools like these,
(and my blog) there is simply no reason for not having beautifully
spec'd color schemes in your designs. Of course if you are a woman you
won't need them.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/05/25/title-19.aspx"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a target="_self" href="http://community.avid.com/blogs/adman/archive/2007/08/17/title-20.aspx"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;div style="clear:both;"&gt;&lt;/div&gt;&lt;img src="http://community.avid.com/aggbug.aspx?PostID=343396" width="1" height="1"&gt;&lt;img src="http://feeds.feedburner.com/~r/AvidCommunityJourneyFromConceptToCreation/~4/8KFSw6cGDQk" height="1" width="1"/&gt;</description><category domain="http://community.avid.com/blogs/adman/archive/tags/Advertising/default.aspx">Advertising</category><category domain="http://community.avid.com/blogs/adman/archive/tags/target+market/default.aspx">target market</category><category domain="http://community.avid.com/blogs/adman/archive/tags/graphic+design/default.aspx">graphic design</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Color/default.aspx">Color</category><category domain="http://community.avid.com/blogs/adman/archive/tags/color+theory/default.aspx">color theory</category><category domain="http://community.avid.com/blogs/adman/archive/tags/color+wheel/default.aspx">color wheel</category><category domain="http://community.avid.com/blogs/adman/archive/tags/primary+colors/default.aspx">primary colors</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Munsell/default.aspx">Munsell</category><category domain="http://community.avid.com/blogs/adman/archive/tags/Rorschach/default.aspx">Rorschach</category><category domain="http://community.avid.com/blogs/adman/archive/tags/hue/default.aspx">hue</category><category domain="http://community.avid.com/blogs/adman/archive/tags/saturation/default.aspx">saturation</category><category domain="http://community.avid.com/blogs/adman/archive/tags/value/default.aspx">value</category><category domain="http://community.avid.com/blogs/adman/archive/tags/effectiveness/default.aspx">effectiveness</category><feedburner:origLink>http://community.avid.com/blogs/adman/archive/2007/07/01/title-21.aspx</feedburner:origLink></item><item><title>"Divine Proportion."</title><link>http://feeds.avid.com/~r/AvidCommunityJourneyFromConceptToCreation/~3/FtzNlZmVjo0/title-19.aspx</link><pubDate>Mon, 28 May 2007 07:42:00 GMT</pubDate><guid isPermaLink="false">33dbc7b4-0359-4be4-a659-9f674152ccc7:343394</guid><dc:creator>Adman</dc:creator><slash:comments>3</slash:comments><comments>http://community.avid.com/blogs/adman/archive/2007/05/28/title-19.aspx#comments</comments><description>&lt;div class="entry-content"&gt;
&lt;div class="entry-body"&gt;
&lt;p class="MsoBodyText"&gt;&lt;a href="http://community.avid.com/blogs/adman/archive/2007/04/23/title-14.aspx" target="_self"&gt;&amp;lt;&amp;lt; Previous&lt;/a&gt; | &lt;a href="http://community.avid.com/blogs/adman/archive/2007/06/26/title-21.aspx" target="_self"&gt;Next &amp;gt;&amp;gt;&lt;/a&gt;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;One of the best ways to understand the last of my five
principles of design -- proportion -- is to study nature. When you look across a
landscape, you don&amp;rsquo;t typically see one tree that is precisely one half as high
as another&amp;hellip; or one cloud that is one quarter the size of the next one&amp;hellip; or stars
and galaxies that are equidistant from each other. &lt;strong&gt;Nature cares little about such obvious mathematical relationships and good design
follows the examples of nature in this regard.&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp; That is not to say that nature isn&amp;rsquo;t mathematical. The
elements of nature -- clouds, plants, geographical features, animals, stars, galaxies,
etc., do have pleasing proportions and the proportional relationships are based
on what mathematicians call &amp;ldquo;irrational&amp;rdquo; mathematics.&lt;/p&gt;
&lt;/div&gt;
&lt;div class="entry-more"&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &amp;nbsp;&lt;strong&gt; There is a &amp;ldquo;divine proportion&amp;rdquo;
that occurs frequently and abundantly in nature. It is generally referred to as
the &amp;ldquo;golden ratio.&amp;rdquo;&lt;/strong&gt;
When a line is divided by the golden ratio (Phi -- the
&amp;ldquo;irrational&amp;rdquo; number 1.6180339887...), the resulting proportions are
visually pleasing. The Pythagoreans (circa 500 BC) believed this to be
divinely inspired.&lt;br /&gt;&amp;nbsp;
&amp;nbsp; The history of the golden ratio goes back at least to 500
BC. [If you create a sequence of numbers (starting with 0, 1) by adding
the last two numbers in the sequence together you will have what is
called the Fibonacci sequence -- 0, 1, 1, 2, 3, 5, 8, 13 and so forth.
As you divide each resulting number into the previous number, the
result resolves into the golden ratio.] But, as recently as 1854, Adolf
Zeising discovered that the branches along
stems of plants and the veins in leaves were expressions of the golden
ratio -- so are the dimensions of the human body, other skeletal
forms, sunflower florets, seashells such as the Nautilus (a Fibbonacci
spiral). and countless other occurences in nature ranging from the
logarithmic spirals of hurricanes and galaxies (completely unrelated
phenonoma) to the flight pattern of a falcon diving on its prey.&lt;br /&gt;&amp;nbsp; &amp;nbsp; When the length of a line is divided by the golden ratio (rounded
to 1.62), and split into segments based on the resulting length, the length
of the shorter segment is to the longer segment what the length of the longer
segment is to the entire length of the line.&lt;a href="http://avid.blogs.com/photos/uncategorized/2007/05/26/c_is_to_a_as_a_is_to_b_2_3.jpg"&gt;&lt;img height="88" width="225" border="0" style="margin: 0px 0px 5px 5px; float: right;" src="http://community.avid.com/resized-image.ashx/__size/225x88/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/C_5F00_is_5F00_to_5F00_a_5F00_as_5F00_a_5F00_is_5F00_to_5F00_b_5F00_2_5F00_3.jpg" /&gt;&lt;/a&gt;
 
Renaissance artists
used this &amp;ldquo;divine proportion&amp;rdquo; to design paintings, sculpture and architecture.
It is believed to have been used in works ranging from the Mona Lisa to the Parthenon
(and the great pyramids). The Parthenon is considered to be the finest example
of proportion in the history of architecture.&lt;br /&gt;&amp;nbsp; &amp;nbsp; In art school, one of the layout styles I learned about is
called the Mondrian layout. &lt;strong&gt;It is named after the Dutch painter, Piet Mondrian
(1872-1944) who is considered to be the father of advertising design.&lt;/strong&gt; He used grids extensively&amp;hellip; with the grids following the tenets of the golden ratio or divine
proportion. In the Mondrian tradition, contemporary graphic designers often use
the &amp;ldquo;rule of thirds&amp;rdquo; to create layout grids which result in these universally
pleasing proportions.&lt;br /&gt;&amp;nbsp; &amp;nbsp; This is achieved by first dividing your layout dimensions
into thirds, and then to divide the top most resulting dimension by thirds
again. &lt;a href="http://avid.blogs.com/photos/uncategorized/2007/05/25/rule_of_thirds_grid_6.jpg"&gt;&lt;img height="243" width="175" border="0" style="margin: 0px 0px 5px 5px; float: right;" src="http://community.avid.com/resized-image.ashx/__size/175x243/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Rule_5F00_of_5F00_thirds_5F00_grid_5F00_6.jpg" /&gt;&lt;/a&gt;Then
dividing each column in halves. This grid is then used as a guide in
determing the placement of the elements of design -- according, of
course, to the principles of design that I have been discussing in this
blog.
&lt;br /&gt;&amp;nbsp; &amp;nbsp; Speaking of the other principles, proportion is closely related to &lt;a href="http://community.avid.com/blogs/adman/archive/2007/04/23/title-14.aspx" target="_self"&gt;balance&lt;/a&gt; and &lt;a href="http://community.avid.com/blogs/adman/archive/2006/12/11/title-16.aspx"&gt;emphasis&lt;/a&gt;&amp;hellip; and &lt;a href="http://community.avid.com/blogs/adman/archive/2007/01/16/title-15.aspx"&gt;sequence&lt;/a&gt;. Different proportions of visual to copy,
for example, can send uniquely different messages, even when using identical elements of design. &lt;strong&gt;The
use of proper proportion results in unequal dimensions -- without
obvious mathematical relationships -- which help to create a
lively, interesting and pleasing design.&lt;/strong&gt;&lt;br /&gt;&amp;nbsp; &amp;nbsp; The golden
ratio is seen in musical compositions from Bartok' to Bach, Beethoven
and Mozart. Stradivari used the golden ratio for the placement of the
f-holes in his famous violins. On the piano, there are 13 musical notes
separating each octave of 8 notes (the golden ratio). The keys of a
piano also consist of the golden ratio -- a scale of 13 keys, 8 white,
5 black split into groups of 3 and 2.&lt;br /&gt;&amp;nbsp; &amp;nbsp; Contemporaneously, the
ubiquitious golden ratio is used in abundance -- at least in its
approximate form. If you use the "a" and "b" lengths from the example
above, to create a rectangle, you will have what is referred to as the
"golden oblong" -- considered to be the perfect rectangle. Visa&amp;reg; and
Mastercard&amp;reg; aspect ratios are close approximations,
as are the aspect ratios of some popular video screens&amp;hellip; including
cinematic aspect ratios
(1920 x 1200 and 720 x 480).&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&lt;a href="http://avid.blogs.com/photos/uncategorized/2007/05/25/bernback_golden_2.jpg"&gt;&lt;img height="239" width="175" border="0" style="margin: 0px 0px 5px 5px; float: right;" src="http://community.avid.com/resized-image.ashx/__size/175x239/__key/CommunityServer.Blogs.Components.WeblogFiles/adman/Bernback_5F00_golden_5F00_2.jpg" /&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp; &amp;nbsp; If you go back to my previous blogs you will
find that I have referred to Bill Bernback's "Think Small" ad numerous
times. It is a remarkable example of practically everything I have
discussed. In the great Mondrian tradition, it is not too surprising to
find that Bernback also used the rule of thirds when creating what is
considered to be the most divine ad of all time.&lt;/p&gt;
&lt;p class="MsoBodyText"&gt;&amp;nbsp;&lt;/p&gt;
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