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Gay (500 年的故事)
案例简介：战略 艺术一直是英国文化的重要组成部分。但是艺术界已经逐渐远离了大多数人的日常生活。它充满了智力优势和 “安静的乐趣”。这疏远了除了白人中产阶级之外的所有人，所以我们需要让观众多样化，包括更广泛的年龄范围、种族和社会阶层。我们需要让泰特英国艺术回到英国文化的核心，让它与今天人们的生活相关。这场运动跨越了许多渠道，允许人们以不同的方式参与。这些频道包括印刷、户外、电影、广播、社交和直销。在每种情况下，我们都选择了高质量、高停留时间的位置，让人们有时间阅读故事, 但是我们也颠覆了这些传统的视觉形式，故意不展示艺术，而是讲述它们背后的故事。 概要 泰特英国美术馆的客流量正在下降，他们正努力让人们走出通常的 “艺术圈” 去参观美术馆。简报是为了重振画廊，并吸引更广泛的观众。总体目标是增加脚步，让人们再次关心艺术。预算被授权 * (见机密信息)，这达到了 331,601,621。 活动描述 画廊经常在海报中使用艺术品的复制品来吸引游客。他们没有以最好的光线展示艺术，他们已经成为除了少数艺术爱好者之外的所有艺术爱好者的墙纸。所以我们决定用文字来讲述艺术背后的故事，而不是展示艺术。今天的故事和艺术品最初创作时一样相关。如此引人注目的故事会让人们想去画廊亲眼看看艺术。这场运动证明，具有挑战性的惯例可以导致更好更强大的交流方式。在一个充斥着 Instagram 图像、电影、视频和图像复制品的世界里，这场运动没有图像。在一个大喊大叫的 'he 的世界里，这场运动被剥离回他们创造的文字和故事。 结果 尽管 £ * 的预算有限 (见 6) 对所有媒体来说，这场运动引起了画廊客流量的明显增加，在社会上引起了轰动，并最终影响了普通人对泰特英国美术馆艺术的看法和理解。我们实现了: 331,552,550 离线影响户外: 23,382,000 | 出版社: 4,941,500 | 发行: 94,000 | 广播: 368,000 | 电影: 302,767,050 968,052 数字影响内容: 66,852 | 脸谱网: 577,444 | 推特: 107,094 | 搜索: 3,652 | Instagram: 213,01022，080 网站流量增长内容: 977 | Facebook: 12,530 | 推特:253 | 搜索: 117 | 有机: 4,786 | Instagram 网站点击: 2,080 泰特英国美术馆甚至把我们的明信片和海报放在画廊里。我们还在社交媒体上收到了大量积极的评论，数百人分享了作品的照片，进一步有机地传播了运动。我们仍在等待 3 月和 4月活动的一些结果。 执行 画廊广告是一种惯例。通常以艺术图片为特色，包含大量无聊的信息和赞助商标志。画廊广告不起作用。我们不希望这项工作类似于广告。在你意想不到的地方发现的情绪化、挑衅性的故事。都在泰特美术馆的字体里，副本被设置了,然后拍摄并重新设置，以产生不平衡。所有这些都放在一个非白色的无菌背景上，只留下为视觉客户做这项工作的文字。反设计。用最小的，情绪化的字体向故事中的力量点点头。
Gay (500 年的故事)
案例简介：Strategy Art has always been an important part of British culture. But the art world has gradually drifted away from the everyday lives of most people. It is full of intellectual superiority and ‘quiet please’. This has alienated all but the white middle classes, so we needed to diversify the audience to include broader age ranges, ethnicities and social classes. We needed to put Tate Britain’s art back at the heart of British culture by making it feel relevant to people’s lives today. The campaign ran across a number of channels to allow people to engage in different ways. These channels included print, outdoor, cinema, radio, social and direct. In each case we picked high quality, high dwell time placements, to allow people the time to read the stories, but we also subverted these traditionally visual formats and deliberately not showing the art but telling the stories behind them. Synopsis Tate Britain’s footfall was declining and they were struggling to get people outside of the usual ‘art crowd’ to visit the gallery. The brief was to revitalise the gallery and make it appeal to a broader audience. Overall objectives were to increase footfall and to make people care about art again. The budget was £**** (See Confidential Information) and this delivered reach of 331,601,621. Campaign Description Galleries have often used reproductions of artwork in their posters to try and attract visitors. They don’t show the art in its best light, and they’ve become wallpaper to all but a few art buffs. So instead of showing the art, we decided to use words to tell the stories behind it. Stories that are as relevant today as they were when the artworks were originally created. Stories so compelling it would make people want to go to the gallery to see the art for themselves. This campaign is proof that challenging convention can lead to a better more powerful way to communicate. In a world saturated with Instagram images, film, video and image reproductions this campaign has no image. In a world of ‘he who shouts the loudest wins’ this campaign is stripped back to just words and the stories they create. Outcome Despite a limited budget of £**** (See 6.) for all media, the campaign caused a noticeable increase in gallery footfall, created a stir socially and ultimately impacted the way in which the everyday person views and understands the art in Tate Britain. We achieved: 331,552,550 Offline ImpactsOutdoor: 23,382,000 | Press: 4,941,500 | Distribution: 94,000 | Radio: 368,000 | Cinema: 302,767,050 968,052 Digital ImpactsContent: 66,852 | Facebook: 577,444 | Twitter: 107,094 | Search: 3,652 | Instagram: 213,01022,080 Increase in Site TrafficContent: 977 | Facebook: 12,530 | Twitter: 253 | Search: 117 | Organic: 4,786 | Instagram website clicks: 2,080 Tate Britain even placed our postcards and posters in gallery. We also received an abundance of positive comments on social media, with hundreds of people sharing photographs of the work, spreading the campaign further organically. We are still awaiting some results from the activity in March & April. Execution Gallery advertising is a convention.Usually featuring a picture of the art, with an overload of boring information and sponsor logos.Gallery advertising isn’t working.We didn’t want this work to resemble advertising.Emotive, provocative stories discovered in places you wouldn’t expect.All set in the Tate Gallery’s typeface, the copy was set, then photographed and re-set so as to create imbalance.All placed on an off white, sterile background leaving only the words to do the job for a visual client.Anti-design. With the smallest, emotive typographic nods to the power in the stories.
Gay (500 Years Of Stories)
案例简介：战略 艺术一直是英国文化的重要组成部分。但是艺术界已经逐渐远离了大多数人的日常生活。它充满了智力优势和 “安静的乐趣”。这疏远了除了白人中产阶级之外的所有人，所以我们需要让观众多样化，包括更广泛的年龄范围、种族和社会阶层。我们需要让泰特英国艺术回到英国文化的核心，让它与今天人们的生活相关。这场运动跨越了许多渠道，允许人们以不同的方式参与。这些频道包括印刷、户外、电影、广播、社交和直销。在每种情况下，我们都选择了高质量、高停留时间的位置，让人们有时间阅读故事, 但是我们也颠覆了这些传统的视觉形式，故意不展示艺术，而是讲述它们背后的故事。 概要 泰特英国美术馆的客流量正在下降，他们正努力让人们走出通常的 “艺术圈” 去参观美术馆。简报是为了重振画廊，并吸引更广泛的观众。总体目标是增加脚步，让人们再次关心艺术。预算被授权 * (见机密信息)，这达到了 331,601,621。 活动描述 画廊经常在海报中使用艺术品的复制品来吸引游客。他们没有以最好的光线展示艺术，他们已经成为除了少数艺术爱好者之外的所有艺术爱好者的墙纸。所以我们决定用文字来讲述艺术背后的故事，而不是展示艺术。今天的故事和艺术品最初创作时一样相关。如此引人注目的故事会让人们想去画廊亲眼看看艺术。这场运动证明，具有挑战性的惯例可以导致更好更强大的交流方式。在一个充斥着 Instagram 图像、电影、视频和图像复制品的世界里，这场运动没有图像。在一个大喊大叫的 'he 的世界里，这场运动被剥离回他们创造的文字和故事。 结果 尽管 £ * 的预算有限 (见 6) 对所有媒体来说，这场运动引起了画廊客流量的明显增加，在社会上引起了轰动，并最终影响了普通人对泰特英国美术馆艺术的看法和理解。我们实现了: 331,552,550 离线影响户外: 23,382,000 | 出版社: 4,941,500 | 发行: 94,000 | 广播: 368,000 | 电影: 302,767,050 968,052 数字影响内容: 66,852 | 脸谱网: 577,444 | 推特: 107,094 | 搜索: 3,652 | Instagram: 213,01022，080 网站流量增长内容: 977 | Facebook: 12,530 | 推特:253 | 搜索: 117 | 有机: 4,786 | Instagram 网站点击: 2,080 泰特英国美术馆甚至把我们的明信片和海报放在画廊里。我们还在社交媒体上收到了大量积极的评论，数百人分享了作品的照片，进一步有机地传播了运动。我们仍在等待 3 月和 4月活动的一些结果。 执行 画廊广告是一种惯例。通常以艺术图片为特色，包含大量无聊的信息和赞助商标志。画廊广告不起作用。我们不希望这项工作类似于广告。在你意想不到的地方发现的情绪化、挑衅性的故事。都在泰特美术馆的字体里，副本被设置了,然后拍摄并重新设置，以产生不平衡。所有这些都放在一个非白色的无菌背景上，只留下为视觉客户做这项工作的文字。反设计。用最小的，情绪化的字体向故事中的力量点点头。
Gay (500 Years Of Stories)
案例简介：Strategy Art has always been an important part of British culture. But the art world has gradually drifted away from the everyday lives of most people. It is full of intellectual superiority and ‘quiet please’. This has alienated all but the white middle classes, so we needed to diversify the audience to include broader age ranges, ethnicities and social classes. We needed to put Tate Britain’s art back at the heart of British culture by making it feel relevant to people’s lives today. The campaign ran across a number of channels to allow people to engage in different ways. These channels included print, outdoor, cinema, radio, social and direct. In each case we picked high quality, high dwell time placements, to allow people the time to read the stories, but we also subverted these traditionally visual formats and deliberately not showing the art but telling the stories behind them. Synopsis Tate Britain’s footfall was declining and they were struggling to get people outside of the usual ‘art crowd’ to visit the gallery. The brief was to revitalise the gallery and make it appeal to a broader audience. Overall objectives were to increase footfall and to make people care about art again. The budget was £**** (See Confidential Information) and this delivered reach of 331,601,621. Campaign Description Galleries have often used reproductions of artwork in their posters to try and attract visitors. They don’t show the art in its best light, and they’ve become wallpaper to all but a few art buffs. So instead of showing the art, we decided to use words to tell the stories behind it. Stories that are as relevant today as they were when the artworks were originally created. Stories so compelling it would make people want to go to the gallery to see the art for themselves. This campaign is proof that challenging convention can lead to a better more powerful way to communicate. In a world saturated with Instagram images, film, video and image reproductions this campaign has no image. In a world of ‘he who shouts the loudest wins’ this campaign is stripped back to just words and the stories they create. Outcome Despite a limited budget of £**** (See 6.) for all media, the campaign caused a noticeable increase in gallery footfall, created a stir socially and ultimately impacted the way in which the everyday person views and understands the art in Tate Britain. We achieved: 331,552,550 Offline ImpactsOutdoor: 23,382,000 | Press: 4,941,500 | Distribution: 94,000 | Radio: 368,000 | Cinema: 302,767,050 968,052 Digital ImpactsContent: 66,852 | Facebook: 577,444 | Twitter: 107,094 | Search: 3,652 | Instagram: 213,01022,080 Increase in Site TrafficContent: 977 | Facebook: 12,530 | Twitter: 253 | Search: 117 | Organic: 4,786 | Instagram website clicks: 2,080 Tate Britain even placed our postcards and posters in gallery. We also received an abundance of positive comments on social media, with hundreds of people sharing photographs of the work, spreading the campaign further organically. We are still awaiting some results from the activity in March & April. Execution Gallery advertising is a convention.Usually featuring a picture of the art, with an overload of boring information and sponsor logos.Gallery advertising isn’t working.We didn’t want this work to resemble advertising.Emotive, provocative stories discovered in places you wouldn’t expect.All set in the Tate Gallery’s typeface, the copy was set, then photographed and re-set so as to create imbalance.All placed on an off white, sterile background leaving only the words to do the job for a visual client.Anti-design. With the smallest, emotive typographic nods to the power in the stories.
Gay (500 年的故事)
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Gay (500 Years Of Stories)
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