Olympic marketing – be careful what you say!

30th March 2010 by Frank Norman
Seb Coe

Seb Coe

With 850 days to go til the opening ceremony of the 2012 Olympics, many companies have planned their marketing and advertising strategies.

The closer we get to the event, we will inevitably see more and more advertising by brands and companies hoping

to associate themselves with such a sensational & prestigious event.

But businesses should bear in mind that a legal minefield awaits the unwary, and it’s crucial to get the publicity just right.

The Olympic organisers and ‘official partners’ have invested heavily to create the event, and the law aims to protect that investment and the value of licensing deals.

Back in April 2006, Seb Coe announced he wanted a “clean advertising environment” following new intellectual property rights of the new London Olympic Games and Paralympic Games Act 2006.

Any non-official company’s marketing or advertising that refers to the event are very tightly restricted. The 2006 Act even clamps down on ‘ambush marketing’, whereby businesses try to advertise near an Olympics venue to bask in the event’s reflected glory.

In all these locations, businesses will have to avoid infringing something known as ‘Olympic Association Right’ under the Olympic Symbol etc (Protection) Act 1995 as well as the ‘London Olympics Association Right’ (LOar) under the 2006 Act.

Use of words such as ‘Olympic(s)’, ‘Olympian(s)’, and ‘Paralympic(s)’ are restricted. Meanwhile, a person infringes LOar if he uses a “representation” (of any kind) in the course of trade in a manner likely to suggest to the public that there is an association between the London Olympics and his goods or services.

Put simply, it’s unlawful to pass your business off as being ‘associated’ with the Games. Knowing where to draw the line can be tricky.

The 2006 Act gives some guidance, stating that when considering whether a particular advert has breached the rule, a court may “take account of” its use of specified – but otherwise innocuous – words, including ‘London’, ‘Games, ‘twenty twelve’, ‘gold’, and ‘summer’.

Errant advertisers who refuse to accept that parts of the English language may now be off-limits could face a claim for damages, an account of profits, and an injunction. They could also be prosecuted for a criminal offence.

London venue marketing specialist and Design Inc’s newly-appointed Senior Account Manager, Darren Scurville says “The 2012 Games remain a golden opportunity for brands & local businesses. However, Olympic-associated promotions can be a minefield and no company would want to infringe on the intellectual property rights. The key is knowing the safe-zone, or ‘reference without association’. There are many specialist lawyers who can help get your marketing approved. And, if you get it right, you will come out with the business equivalent of a gold medal. Get it wrong, and the disappointment of not being a business medallist could be accompanied by serious – and expensive – litigation.”

Research highlights the need for good designers

25th March 2010 by Frank Norman

Industry leaders join national debate amongst designers taking place tomorrow  (Friday 26 March) to discuss implications for the industry.

The first national survey of the UK design industry since 2005, released by the Design Council, shows an industry in growth, increasingly comprising freelances and micro businesses.

The design sector has grown over the last five years despite the recession, according to the figures, with numbers of designers increasing by 29% to 232,000 and combined fee incomes of freelances and design consultancies and budgets of in-house design teams increasing by £3.4bn to £15bn.

The Design Council’s research also shows that the design industry is increasingly fragmenting with more independent freelancers and micro businesses. There are now 65,900 freelances, 39% more than in 2005, with total freelance fee income growing by 22% over the same period. And whilst there are 35% more designers working in design consultancies than in 2005 – bringing the total to 82,500 – the total number of consultancies has declined by 13% to an estimated 10,800. Despite budget cuts, in-house design teams are being retained. Collectively in-house design team budgets are down 34% since 2005, but the number of in-house design teams in the UK has increased by 10% to 6,500 suggesting that employers are holding on to creative employees despite downward pressure on budgets.

The Design Council has organised a national debate with leading industry figures to discuss the important issues which the survey raises around the composition of the industry. The debate will be webcast live from Royal Society of Art in London from 9.30am to 11.00am on Friday 26th March.

Designers who would like to attend the event are asked to register by emailing: info@designcouncil.org.uk.

During the debate designers at the event and watching online will be able to comment, pose questions and vote online on three motions:

  1. Recessions are good news in disguise for designers
  2. Networks are fine but they won’t keep me in business
  3. Tighter finances mean more on the job learning and that’s a good thing

Digital design specialist Simon Waterfall is the compere for the debate and the pairs of speakers debating the motions are celebrated product and furniture designer Tom Dixon and creative industries number cruncher Mandy Merron (speaking on ‘Recessions are good news in disguise for designers’); design business advisor Shan Preddy and retail design specialist Callum Lumsden (speaking on ‘Networks are fine but they won’t keep me in business’); and graphics grandees Mike Dempsey and Brian Webb (speaking on ‘Tighter finances mean more on the job learning and that’s a good thing’)

The survey was conducted by the Design Council in autumn 2009 and is the second comprehensive analysis of the UK design industry. The survey examines design consultancies, in-house design teams and freelances working in communications design, digital and multimedia design, interior and exhibition design, product and industrial design, fashion design and service design. As such it provides a fascinating analysis of how UK design is evolving and a profile of UK design in the 21st century. The results also show:

  • The South East region is home to one in six design businesses with London being home to almost one in four (23%)
  • Well over half (60%) of design consultancies employ fewer than five people and a further quarter (27%) have less than ten staff. In-house teams tend to be larger than consultancies, with over a third (37%) of them comprising five or more designers.
  • Many design businesses are relatively young: at least 29%, in every region or country of the UK having been in business for three years or less.
  • 55% of design consultancies have an annual fee income of between £100,000 and £500,000, 58% of freelances have an annual income of less than £50,000
  • There is still a lack of diversity in the industry, with the average designer being male, 38 years old and white.
  • Most designers are not members of national design bodies. Designers rarely join networks, but are most likely to be members of business organisations like the Federation of Small Businesses (14%) and the British Chamber of Commerce (12%). Beyond this, they are also more likely to have joined a regional design network or forum (9%) than a national design body.

If you are considering a forthcoming creative/marketing project, you may be interested in receiving Design Inc’s  Information Pack.

Changing Faces – image retouching & manipulation

19th March 2010 by Frank Norman
Kiera Knightley before & after image manipulation

Kiera Knightley before & after image manipulation

It is said that beauty is eye of the beholder. Or perhaps that should be ‘…in the eye of the beholder after a lot of photo manipulation’!

Marketing communication tools such as company brochures, website design, direct mail, advertising campaigns, etc all rely on promoting the right message to the right people at the right time. Use of imagery to project the message & values of a company, service or product is paramount. But who do we turn to if the actual image is flawed in some way?

From the earliest days of expensive scanners and Barco Creator software to the recent explosion of Adobe Photoshop and the digital backed camera, one thing has remained constant and all-important: the creative flair and eye of the digital artist.

Some creative teams in marketing & design agencies employ specialists in image retouching and manipulation. They provide many services, from simple clipping paths that cut around the edges of the product image so they can be pasted onto a new background, through to complex retouching services to enhance the overall image, whether this be a product, person, building or landscape.

Rest assured, the team at Design Inc have extensive experience in digital retouching. Our services are wide-ranging for a whole host of creative image requirements and include:

  • Expansion of image
  • Image changing (reshape, resize, re-angle, reverse)
  • Image editing (creating images that do not actually exist to be photographed)
  • Removal of items
  • Addition of items & filling in gaps
  • Merging
  • Street litter removal
  • Replacement backgrounds, skies, landscapes
  • Image/body reshaping & recontouring
  • Recolouring & colour enhancement
  • Restoration of damaged areas
  • Face improvements (eg blemish & wrinkle removal,teeth whitening, hair adjustment, etc)
  • Dust and glare removal
  • Shadowing & reflection (addition and removal)

Contact us now for more information.

Taking the Chequered Flag at the Oil & Gas Karting Challenge

16th March 2010 by Frank Norman
Team Design - Oil & Gas Karting Challenge

Team Design - Jon Turner, Darren Scurville, Daniel Gilbert, Frank Norman, Anthony Westoll

Congratulations to engineering specialists and Design Inc client, Verderg Engineering, whose team ‘Verderg Blue’ came home first in the 2010 Oil & Gas Karting Challenge on Monday evening.

The karting challenge is an annual event for all companies who work in and around the oil & gas supply chain. As creative designers to the oil & gas, subsea & engineering industries, Design Inc were also invited to field a team at the 2.5hr endurance event.

Starting from a grid position of 9th, Frank Norman, Design Inc’s Commercial Director made headway in his 30 minute stint. After the half hour was up, Frank and Design Inc were in first place and already a lap ahead of the 2nd placed team.

At the driver change, Frank swapped with Design Inc’s new Senior Account Manager, Darren Scurville. Perhaps it was Darren’s poor choice of shoes or his excuse that he is a specialist in venue marketing (rather than oil & gas marketing) that saw the fortunes of Team Design slip down to 10th place (and 3 laps down on 9th) at the end of the hour.

One and a half hours to go, in 10th position and 3 team members left. The challenge was on.

Next up into the kart was Anthony Westoll, Design Inc’s Operations Manager, who drove sensationally and managed to claw back the 3 laps to put us firmly in 8th place.

Then we unleashed the big guns: Daniel Gilbert, Design Inc MD, complete with his own racing helmet, jumped into the kart and proceeded to get the quickest lap time of the day so far. Dan fought hard to get up back up to 6th place. This meant we had overtaken our ‘friendly rivals’ and another industry client of ours, Guildford-based Derrick Offshore.

With half an hour to go and one driver left, Design Inc Studio Manager Jon Turner, zipped up his overalls, lowered his visor and put his foot down.

With the driver change, we had slipped down to 7th and we were 6 full laps down on the team in first place. Jon drove like a mad man, clawing back laps, getting the fastest lap of the whole tournament and bringing the kart past the chequered flag in third position.

Well done for all involved in the organising of this event. We look forward to working and racing with you next time.

A1, A2, A3, A4 learn about paper sizes, if you’d like to know more

10th March 2010 by Anthony

Everyone uses standard paper size terms but do you they understand what they mean and why?

International Standard (ISO 216) specifies paper sizes used in most countries in the world today (except for the US and Canada which uses its own sizing standard) and the development of these paper size ratios can be dated back to the Eighteenth Century. Before the adoption of this standard, paper sizes did not fit into any formal system and did not work with metric units and it wasn’t until 1975 when so many countries were using this paper sizing system that the International Standard was formalised.

There are a lot of mathematical fomulas behind the workings of A, B and C paper sizes but the underlying feature is that any successive paper size (eg. A1, A2, A3, A4) measurement is determined by halving the dimensions of the preceding one. For example the most commonly used paper size is A4 (297mm x 210mm) and the next paper size is A5 (210mm x 148.5mm) which is equal to half of the A4 dimensions.

The main uses of A, B and C paper sizes is their application to a particular print project. For example C paper sizes are solely used for the manufacture of envelopes and are sized in a way that would allow an A4 piece of paper to fit nicely into a C4 envelope. B sized papers are larger than A sizes and are generally used for oversized projects such as posters and folders, and allow for multiple page documents to be printed on fewers sheets and more economically.

Commonly printed items such as a postcard (A6), flyer (A5) or newsletter (A4) will be printed at a standard size, it is at the special request of a customer to create something with a bespoke size that would change this. Therefore a request to quote for a postcard would be based on A6 size (148.5mm x 105mm):

  • A0 (841mm x 1189mm)
  • A1 (594mm x 841mm)
  • A2 (420mm x 594mm)
  • A3 (297mm x 420mm)
  • A4 (210mm x 297mm)
  • A5 (148.5 x 210mm)
  • A6 (105mm x 148.5mm)
  • A7 (74mm x 105mm)
  • A8 (52mm x 74mm)
  • A9 (37mm x 52mm)
  • A10 (26mm x 37mm)

Click on the images below to see paper size dimensions in greater detail.