INTRODUCTION DPS has provided valuable insights into the challenges faced by emerging creatives in gaining visibility within the industry. Inspired to address these issues, a collaborative self-initiated project, CHEERS, was born. Our team, comprising myself, Justina, and Joe, embarked on a journey to explore the dynamics between the creative industry and emerging talents. CHEERS BRANDING The branding process involved conceptualising visual elements that resonated with our project goals. We opted for circles to symbolise bubbles in drinks, aligning with our brand name, CHEERS. Each team member contributed to selecting coloUrs that reflected cohesion and individuality, culminating in a visually cohesive brand identity. PROJECT EVALUATION The project commenced with an analysis of the hurdles encountered by emerging creatives, particularly the lack of response or constructive feedback from agencies and brands. To showcase these challenges, we participated in the DPS Journey’s exhibition. Our campaign strategy involved leveraging drinks packaging space to feature artists' work prominently, aiming to catch the attention of brands and creative directors. Additionally, we created satirical posters critiquing the unhelpful nature of rejection emails, emphasizing the need for constructive feedback. Drawing from personal experience, we integrated insights from Fiasco Design’s internship application feedback, highlighting the importance of showcasing skills. (Image 3-5: CHEERS campaign poster at the DPS Journey’s exhibition) Drawing on my own experience, the only agency that got back to be with some sort of good feedback was when I applied to an open internship at fiasco design. One aspect of their feedback stood out to me which is the part about showing of our skills as emerging creatives. They advise to “take every opportunity to flex our skills” such as if we design, our emails should be designed and if we do motion, we should make something move in the email. CHEERS expanded into three segments:
PERSONAL COMMUNICATION KIT (ABIOLA) CHEERS evolved into the concept of curating personalized branded communication kits tailored for emerging creatives, aimed at helping them distinguish themselves during the application process, recognising that "we only have 'one chance to make our mark'" (Toward, 2014). Venturing beyond the digital realm, we delved into the strategy of dispatching tangible printed materials via post to by pas getting lost in hundreds of email competitors. This strategic innovation was inspired by the practice observed among artists, who, in their pursuit of representation or job opportunities, send physical introduction to themselves to agencies like Pocko. Take, for instance, the case of Ema Ferreira, a versatile artist who meticulously assembled an envelope containing an A3 3-fold pamphlet showcasing her portfolio, accompanied by stickers and her business card. (Image 7: Ema Ferreira’s communication kit sent to Pocko) Pocko's agents promptly diverted their attention to her submission, engaging in a discussion about her work and subsequently incorporating her into their alternative roster. This example underscores the effectiveness of physical submissions in leaving a lasting impression amidst the sea of digital correspondence. Ema's approach not only showcased her artwork but also highlighted her distinctive personal brand, showing professionalism while offering a glimpse into her personality and artistic style, characterized by vibrant and bold color palettes that radiate reliability and playfulness simultaneously. This tactic inspired my SIP, fascinated by the concept that physical materials, such as those utilised by Ema, leaves an lasting impression on the recipient's memory, unlike digital communications that often become forgotten within overflowing inboxes. Furthermore, Design Dough advocates for leaving behind memorable artifacts, be it a look-book, a portfolio CD, or even a token reflective of the recipient's interests gleaned from social media interactions. This underscores the importance of creating a tangible connection when approaching creative agencies as an emerging talent (Design Dough, 2024). CHEERS explored the significance of cultivating a personal brand as an emerging creative—a pivotal factor in ensuring one's prominence among competitors. As Alyssa Omandac notes, "A strong personal brand is what tells employers why you’re a beneficial addition to their team" (2023). By crafting a visually compelling brands, emerging creatives are able to make that first good impression and heighten their chances of success. Such branding extends across various platforms, including email signatures, online portfolios, and social media, projecting an aura of reliability and professionalism. (Image 8: Abiola's personal brand) CHEERS also explored creating a Poster Zine that showcases the artist skills, work, and links to their portfolio. Design Dough advises “don’t spend an absolute packet on getting your work printed…be a bit more inventive, creative and a bit more frugal” (2024), therefore a poster zine is suitable because while it remains cost-effective, it also serves as a lasting decorative piece within creative studios. (Image 11: Abiola posterzine) Toward studio advises that when approaching an agency, the communication should be personalised and the tone should be appropriate as well, therefore the communication kit will be equipped with a designed postcard, similar to the design of image 12, which feature's the artist’s work on the back and a personalised message with the right tone of voice can be written on it. (Image 12: Example from printed.com) And finally for the communication kit, 5x5 cm vinyl stickers of the artist's work will be included because who can resist decorating their laptop with stickers, especially if you're in the creative industry? It's a nice strategy to remain in "arms reach" of creative directors and brands and increase the chances of getting a call back when an application is made. (Image 13: Example from printrunner.com) WEBISTE AND APP DESIGN AND TEMPLATES (JUSTINA) When brainstorming our website concept, I aimed for a user experience that reflected our brand's essence while maintaining a formal aspect. I incorporated bubbles from our logo subtly throughout, avoiding literal brand placements. The site's color scheme, based on our brand colors, was strategically placed for optimal visibility. While the process is clear, future enhancements can refine user experience. The website design focuses on two stages: browsing packages and meeting the team. Users can view team members' specialties and portfolios, book consultations, and select packages. After selecting a consultant and package, users proceed to checkout, paying a £20 deposit for confirmation. Though more stages and possibilities exist, this UX represents our primary vision. It took time to balance visual elements without appearing childish, but I'm pleased with the result and eager for future enhancements. In line with website UX, I devised Instagram posts introducing our illustration design, team, services, and pricing, linking back to the website. This serves as a small glimpse of our broader social media strategy. CURATED PUBLICATION (JOE) To finalize our SIP, I engaged in interviews with artists, which culminated in a book highlighting their craft and artistic ethos. This book serves as a companion to our project, offering multifaceted support to emerging creatives, while concurrently serving as a tangible embodiment of our ethos and the individuals we endeavor to represent. The publication of these magazines not only facilitates deeper engagement with both internal and external people within the creative industry but also serves as a catalyst for enhancing the professional trajectory of those we represent. Moreover, it affords collaborators a platform to assert their status as bona fide published creatives, a credential of considerable merit for bolstering their portfolios, curriculum vitae, and professional standing. In sum, this publication is meticulously crafted for those seeking insight into the emergent cohort of creatives, curated by and for the next generation to spotlight the luminaries with whom we grow and evolve. As the contents of the magazine focus heavily on the individual, and how they wish to push their individual talents into the creative industry, I wanted to focus heavily on them more so than any other element, as while it is still a publication, it can almost double over as a catalogue for the new era of creatives. I want to highlight the individualism within everyone I photographed and interviewed, and as I believe personal style represents more than what you just happen to like, it was a definitive factor when doing my photoshoots. All in all, the book will be a stepping stone to help the next generation get their name out there, and act as a professional stepping stone for those who want to be recognised as anything more than a hobbyist, we want to highlight those who are going to be paving the way for the generation after them. REFERENCES Design Dough (2023) How to: Approch an Agency for the first time. Available at: https://designdough.co.uk/how-to-approach-an-agency-for-the-first-time/ (Accessed: 19/04/2024). Toward (2014) How to contact a design agency. Available at: https://toward.studio/latest/how-to-contact-a-design-agency (Accessed: 19/04/2024). Omandac, A. (2023) 'What is personal branding and why is it important?', Brand Fabrik, 30th June. Available at: https://fabrikbrands.com/what-is-personal-branding/ (Accessed: 19/04/2024) These are selected images from the photoshoots I have completed from young and emerging creatives. While Cheers can also be described as an advertising agency for these individuals, I wanted to create a heavily portrait orientated photo series/photobook, as seeing the person behind the portfolio creates a personal connection between creative and audience, which is something we wish to exude for Cheers.
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