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17 JULY 2013

The Social-Media Bubble is Quietly Deflating

"It might be over. Social–media companies drew only 2 percent of the venture capital headed to Internet–based enterprises last quarter, according to data published on Tuesday by CB Insights, a research firm that tracks venture–capital investment. In the two–year stretch that ended in the middle of 2012, social–media companies took in at least 6 percent of overall venture capital invested in Internet companies each quarter. But for three of the last four quarters, those social startups have brought in 2 percent or less (with the outlier quarter largely the result of a huge investment in Pinterest earlier this year). The peak came in the third quarter of 2011, when social companies led by Twitter took in 21 percent of the total $3.8 billion in Internet deals by venture capital firms."

(Joshua Brustein, 16 July 2013, Businessweek)

Fig.1 Andreas L avl42 (27 March 2012). "Skyline with Cranes" [http://www.flickr.com/photos/avl42/6880333552/].

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TAGS

2012ads • Anand Sanwal • Ashlee Vance • banner ad • big dataBloomberg BusinessweekBloomberg LPbusiness • CB Insights • click-through ratecloud computing • consumer-oriented application • e-commerce • economic bubble • Facebook • financial bubble • grouponInternet boom • Internet bubble • market bubble • NASDAQPinterestpredictions • price bubble • Silicon Valleysocial media • social media bubble • social media companies • social media startups • speculation • speculative bubble • Twitterventure capital • venture capitalists • Zynga

CONTRIBUTOR

Simon Perkins
30 DECEMBER 2012

Tom Mortimer of 12foot6 on Animation

"Did you have a mentor when you were starting out?
I worked with some great illustrators when i started. We shared a building with the Central Illustration Agency and so met and listened to a few of them. Brian Grimwood, Simon Spilsbury, Robert Shadbolt, Geoff Grandfield. At the time illustration was being battered a bit because everything was going digital. But as we always say – good art will always find a way.

What's your process for writing a treatment?
We like to try new things whenever we can, so it's about getting the idea and pushing to see what we can do with it. And we like to get something drawn or made or modelled quite quickly. One piece of art will always inspire you to the next step we find.

Do you often collaborate in the early stages or do you work alone?
There are 20 of us at 12foot6 and we all do slightly different things, so everyone has to rely on everyone else – all we ever do is collaborate.

Pencil & Paper or iPad ?
it's a bit hard to send an email with a pencil and pen. But i know what you mean. We find there is a pretty simple rule in animation, in fact with any work I think – you get out what you put in. Put good art in and you stand a good chance of coming out with something you'll be happy with. Use whatever tools you like, as long as it works."

(Millie Ross, 13.07.2012, Jotta)

[The Animation/Illustration agency 12foot6 was started by Dave Anderson and Tom Mortimer. Their name was derived from their collective heights i.e. (6 foot 3) * 2]

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TAGS

12Foot62D animationads • adverts • animatinganimationanimation directorsanimatorsBAFTA • BAFTA nominated • Brian Grimwood • Central Illustration Agency • character builderscharacter design • CIA (design agency) • collaborationcreators • Dave Anderson • design agency • Dog Judo • Geoff Grandfield • going digital • illustrationillustrationsillustrators • in-house creations • iPad • Jetix Europe • Jottamaking things move • mentor • Millie Ross • moving artists • pencil and paper • Robert Shadbolt • Simon Spilsbury • The Sensibles • toolsetUKVirgin Media • writing a treatment • you get out what you put in

CONTRIBUTOR

Simon Perkins
10 DECEMBER 2012

Theorizing Advertising and Promotion

"The visual rhetoric of ads is not, then, confined to the copy. An ad is an argument, a persuasive communication. Every part of it must support the main argument, must be persuasively suggestive. A press ad for Retinol Activ Pur face cream used a clever visual metaphor to support a claim that the cream reduced facial wrinkles. The ad featured two juxtaposed images of a beautiful (Caucasian) woman. She was wearing what seemed to be a white robe, folded over one shoulder like a Roman toga. In the background was a pure blue sky and a suggestion of white pillars, of the kind found in a Greek temple. One picture was cracked, like the surface of an old oil painting. The other was smooth. The metaphoric reference was clear: the cracks suggested wrinkles, but in an elegant way that was complimentary, not demeaning, to age. Old paintings are things of classical beauty, but the paint does tend to crack with age. The ad was designed to draw the eye across aesthetically appealing images while giving the reader heavy hints about the classic beauty they might aspire to if they were to consume the brand.

However the levels of meaning in advertisements are theorized. Acknowledging their presence lends a new dimension to the analysis of advertising as persuasive communication. It brings to light some of the subtlety and complexity of advertising design, while also allowing us to draw an intellectual connection between the various artificially differentiated categories of marketing communication."

(Chris Hackley, 2010)

Chris Hackley (2010). "Advertising and Promotion: An Integrated Marketing Communications Approach", Second Edition, SAGE Publications Ltd.

TAGS

2010adadsadvertisementadvertising and promotionadvertising design • aesthetically appealing images • artificially differentiated categories • beautifulblue sky • Caucasian woman • classic beauty • classical beauty • crack with age • demeaningface cream • facial wrinkles • Greek temple • heavy hints • juxtaposed imageslevels of meaningmarketing communicationmetaphoric referenceoil painting • old paintings • persuasive communicationpersuasively suggestive • press ad • Retinol Activ Pur • Roman toga • visual metaphorvisual rhetoric • white pillars • white robe • wrinkles

CONTRIBUTOR

Simon Perkins
23 NOVEMBER 2009

Anando Milk: visual effects in outdoor advertising

Credits: Advertiser/Client: Anando Milk; Product/Service: Anando Milk; Advertising Agency, City: McCann Erickson India, Mumbai; Country: India; Advertising Agency, City: McCann Erickson India, Mumbai; Country: India; Executive Creative Director: Prasoon Joshi; Creative Director: PK Anil; Copywriter: Prasad Venkatraman; Art Director: Kapil Tammal, Swati Goel, Roopra Sarbjit, Sandesh Kambli; Photographer: Shekawat HS

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TAGS

ad • AdMe Group • adsadvertadvertising • Anando Milk • archiveaward winnersbillboard • Coloribus • commercialscreative advertisingillusionIndiaLLCoutdoor advertisingperspective • print advertising • showcasevisual communicationvisual effectsvisualisation

CONTRIBUTOR

Simon Perkins
20 AUGUST 2009

PaperScope: a tool for graphically representing reference and citation chains

"PaperScope is a tool for graphically exploring the Astrophysics Data System (ADS) which is a database of published astrophysics papers. PaperScope is extremely useful for identifying the citation/reference relationships between papers, and enables the user to visualize these relationships to make locating papers of interest easier. Use it for constructing reference or citation chains, as well as identifying common references/citations between several key papers. It is a tool designed to simplify the process of searching for relevant papers to an astrophysics researcher whether they be a professor, post doc, or student."
(Mark Holliman, Royal Observatory, Edinburgh)

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TAGS

ads • Astro Grid • astronomyastrophysics • Astrophysics Data System • citation • citation chains • cone treedatabasediscursive field • e-Infrastructure • Edinburghgraphic representationhierarchical visualisationhierarchyICTinformation graphicsintegrationJava • Mark Holliman • metadatanotationordering • PaperScope • precedencepublishreference • reference chains • relationshipsrepositoryresearchresearch papers • Royal Observatory Edinburgh • technologytoolvisual depictionvisualisation • WFAU

CONTRIBUTOR

Simon Perkins
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