SEEKING THE METHOD / 35 IN THE MADNESS
SEEKING THE METHOD / 37 IN THE MADNESS → Design a line of T-shirts for a manu- facturer who employs child labor? → Design a brochure piece for an SUV that turned over more frequently than average in emer- gency conditions and caused the death of 150 people? → Design an ad for a product whose continued use might cause the user’s death? → Design a promotion for a diet product that you know doesn’t work? → Design an ad for a political candidate whose policies you believe would be harmful to the general public?
WHEN BRANDS AN INCLUSIVE P OF SOCIETY, TH A ROLE IN REDE WHAT IS CON- SIDERED MAINSTREAM,
SEEKING THE METHOD / 39 IN THE MADNESS PAINT PICTURE HEY PLAY EFINING It will be sparking national conversations content promotes an inclusive picture of society, and speeding the social acceptance of margin- marketing and advertising can work as an alized groups. “TV commercials are a culturally accelerator for social progress. It’s value is not powerful force, shaping society and giving in starting the fire, but in fanning the flames. voice to those outside the mainstream,” CEO and Forbes contributor Avi Dan explained, Twenty years ago it was unimaginable that Hall- arguing that “advertising can move public mark would be featuring a lesbian love story in opinion faster, and farther, than any other influ- its national Valentine’s Day campaign, or more encing factor.” While the advertisers aren’t importantly, that these women would have the generally the ones leading the pack on social right to marry in 36 states, with the majority change, once there is enough public support of Americans (52%) supporting it. Advertising’s for issues that align with companies’ core cultural power stems from its ability to shape values, the risk is outweighed by reward and our perception and give a voice to those outside advertising can work as an accelerator for the mainstream. So what social issues will our social progress. advertising address over the next twenty years? To figure that out, we must first stop and ask The advertising industry will never act as the ourselves — who aren’t we listening to today? first pioneer instigating social change-but that doesn’t mean it can’t be an important part of the process. We consume massive amounts of advertising day in and day out, and when this
DESIGNER This book was designd by Victoria Conn. It was edited and set into type in the United States, and was printed by Plotnet and bound by California Office in San Francisco, California. The publisher and author named are for fictitious use only. TYPEFACE The texts are set in combination of Acumin Pro, designed by Robert Slimbach, and issued in digital form by Adobe systems, Mountain View, California in 2015. Headings are set in HK Kontrast, designed by Hanken Design Co. EQUIPMENTS Equipments used to produce this book include Dell XPS 8900, Macbook 15-inch and. Canon PIXMA iX6820. The following softwares were used: Adobe Creative Cloud, InDesign, Illustrator, Photoshop This is produced as a student project for an Academy of Art class assignment. No part of this book or any other part of the project was produced for commercial use. The written content is a complication of data and information taken from eyemagazine, quartz, medium, yonder, along with interviewsand articles written by Matthew Soar, Henry Jenkins, Moritz Fink and Marilyn DeLaure.
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