COP 03 / Practical / Packard Synthesis / The Hidden Needs

Packard's Hidden Needs in relation to Religion & Practical Project:

Although it would be ideal to have correlations between all eight of the hidden needs with the practical response, this is sometimes not achievable even with existing advertising. However, to provide sound synthesis between my essay and the practical, as many as possible have been appropriately applied. 6 of the Hidden Needs can be applied to the Holy Water product. Within the essay, the needs are talked about briefly however during this blog post both the needs in relation to the product I am creating and the needs in relation to general advertising and branding will be discussed.

Firstly, it sells the need of 'Roots'. We are an organism existing on Earth, our very existence is natural. Since the product is made of holy rock from various religious locations, this relates back to the need of Roots, as we are reminded of our organic state, our habitat; the Earth. The product connects the consumer to this natural feeling, and ensures that they are purified. The need of Roots can also relate back to our families, home land and anything involving our heritage. Religion is as Marx suggested part of the superstructure, and is another institution which transmits values just like the family and education system, producing the need for roots to be replenished and the feeling of holding onto our heritage quenched.

Many individuals are unable to achieve a deep level of emotional security, and will continue to actively seek this out. Brands promise this in the form of comfort and happiness, eradicating bad or guilty feelings. In conjunction with my project, Holy Water enables the consumer to feel comfort and composure in knowing that sins are forgiven and they are pure through the use of the product. According to Packard’s needs this is the selling of ‘Emotional Security’.

Selling ‘Reassurance of Worth’ is achieved through the consumer being accepted by God through repentance, and achieving a secure relationship with their faith. The product promises to ‘cleanse’ the user of all sin, giving them purpose and worth in the eyes of their faith as they no longer carry any sin. Individuals desire reassurance that we are of value and are ‘good’, and advertising provides this through informing the consumer they are doing the right thing, in this example, asking for forgiveness is the correct thing to do. This need is prevalent within advertisements for charities in a broad sense, as they make the individual's sense of worth increase by the promise that they are doing something good.

Holy Water also provides the need of ‘Ego Gratification’. Repenting gives the consumer a feeling of praise, that they are valued for recognising sin. This is especially prevalent in the online platform within the advertising campaign in the tone of voice which is used to praise the user for ‘repenting’, and encourages them to be closer to God, and to follow a righteous path - to become more valued and 'Good' rather than hold onto sin.

The need for 'Love Objects' originates from the feeling we had as a child, giving love to pets and toys. As we age, this love is transmitted onto other gadgets and products, or other attractive individuals feature within the adverts to entice the customer. They may have an internal dialogue of 'if I buy this cosmetic product, I will be loved by attractive men/women, I will be desired" "I will have friends". Adverts play to the needs of the individual craving love and affection by family, friends and partners. Within the Holy Water campaign, the love object is simply God - the being that can provide all the love the individual will ever need if you simply cleanse and purify yourself by using the product. Mary and Jesus are also icons & 'love objects' within the campaign.

Perhaps the most interesting of all Packard's hidden needs discussed within his text, is the selling of 'Immortality'. This is usually achieved by banking companies, insurance, age defying products. No one likes the idea that one day they will disappear, and are frightened by the thought of obliteration. Religion comforts the individual that there is in fact life after death; the prospect of heaven and the afterlife with God. Through the Holy Water product, this is reinforced by the idea that by using the product, the individual is always free from sin and will achieve eternal life.

References

COLE, N.L. (2016) Definition of base and superstructure core concepts of Marxist theory. Available at: http://sociology.about.com/od/Key-Theoretical-Concepts/fl/Base-and-Superstructure.htm (Accessed: 27 December 2016).

PACKARD, V. (1980) The hidden persuaders. Pocket.

COP 03 / Aesthetic / Starboy

Another example of religious symbolism being featured in pop culture and the media is included in The Weeknd's video and album cover for the song Starboy. The video contains The Weeknd holding an illuminated cross and interacting with it. 

This example is inherently important to my research and project, because I am aiming to appeal to a youthful audience of millenials and already religious individuals, the campaign I produce must be attractive and contemporary to fully engage an audience which already may have an eye for aesthetically pleasing products and branding, and those who may not. The Weeknd is highly relevant within the music industry, and this is an example of the current themes he has featured within his latest work. Taking inspiration from this,  I want to achieve a similar level of vivid colour with dark tones, highlighting the symbols and producing something modern that still encapsulates the religious element and product. 

COP 03 / Practical / Target Audience

Holy Water is originally a religious element used within baptism ceremonies and for recalling the sacrament of a baptism. The water is usually kept in a font at the front of a church, and can be used on the skin before entering. Fundamentally, it is water that has been blessed by a priest, and subsequently by God.

It is therefore not my aim to take away any religious nature to the product, rather, the aim is to heighten the sellability of the product, and formulate a brand around holy water. It is obvious that this product should appeal to religious individuals, specifically Catholics, as it is already part of their religious sphere. However, since Christianity always seeks out to spread the holy word and 'convert' others to this faith, I plan to appeal to a wider audience of relatively young agnostic individuals who may not invest in religion - rather, products and branding fills their needs as opposed to religion.

The demographic will then be 18 - 60 year olds who are either religious or not. It is not a goal to alienate non religious consumers, but rather used methods to attract them to the brand whilst still holding religious value, basically having the best of both worlds and appealing to a wider audience than regular holy water would through aesthetic choices and decisions influenced by themes written in my essay i.e Packard, Olins.

COP 03 / Chanel

While planning the advertisement as one of the deliverables for the project, I gathered inspiration by sitting and watching what was currently advertised in the cosmetics market. The aim of the advertisement for Holy Water, is to be dynamic, captivating and engaging. For that to work, it needs to be fast paced and constantly keeping the audience interested.

An advertisement that stood out to me as a main inspiration is N°5 L’EAU: the film by Chanel which features Lily Rose Depp :

Things I noticed was the changing paces and flashiness which keeps an audience guessing and wondering what will happen next. The model is in various scenarios, with lots of colour and vibrancy which is appealing and impactful. Note the change of tempo with the audio and the footage, i.e the colour bombs popping around her, which keeps the advert from becoming repetitive and drawn out. 

The text used is again keeping with the same theme, dynamically appearing and disappearing and repeating the key word 'and', which demonstrates that the subject is this AND that - the consumers of this product can be anything they want to be. 

Overall the advertisement sells a sense of identity, and sense of worth - linking back to Packard this will satisfy the consumers hidden need to be assured of who they  are and how they are valued. Chanel gives the consumer the chance to be themselves, in regard to this advertisement. 

COP 03 / Practical / Photography

At Malham there was a great opportunity to take photos of the product in a natural dynamic setting. There was the cove which had deep set limescale rocks with a good view on top, running water at the bottom of the cove, the cove's wall which had a 'pixel sorted' effect and lots of other stray rocky areas. Below are the raw images I managed to take until my camera died, I then had to improvise by taking photos with my phone as I would only be in this location once.

Camera photos:

Sadly very over exposed but effective composition

Phone photos:

The majority of these images can be used throughout the collateral, as possible textures/backgrounds or focal point images which contain the product. The product now has an appropriate setting which will bode well for the authenticity of the advertising campaign as I wanted to avoid anything too artificial and edited, such as photoshopping mock ups. Having a real tangible product and putting it in a setting like this brought it more to life.

Malham was a great location due to the white colours in some of the rock forms and also the unique forms at the top of the cove. It did rain heavily which wasn't expected but in the end this gave a wet effect to some of the rocks reflecting the 'water' element to the brand.

COP 03 / Practical / Photography Location plan

For this project it is an aim to capture the product in a dynamic setting. Since the bottle is a rock, representing purity, the idea of natural forms and organic themes, the advertising needs to also represent this. I live in Lancashire so it needs to be a realistic location which I can get to without too much trouble.

Malham is a village and civil parish in the Craven district of North Yorkshire, England. Before 20th century boundary changes, the village was part of the Settle Rural District, in the historic West Riding of Yorkshire. It featured on Harry Potter and the Deathly Hallows pt 1 in a scene where Hermione and Harry travel.

Malham would be a great location to take some shots of my finished ceramic product. Since it looks like a rock, the idea is to place it 'naturally' on other rocks, as though it blends in and has been taken right out of a mineral location. The large rock forms are unique to this location and will probably not be as dynamic in a more local spot.

COP 03 / Practical / Planned Deliverables

• Posters (3 variables)
• Online Platform
• Advertisement
• Online banners / ads 
• Perfume testers
• Packaging
• Ceramic functioning product

This project should be pushed to a full campaign which applies product, range and distribution in order to ensure all angles and aspects are considered and substantial. Above is what is planned for the project and with good time management this should be achievable. 

COP 03 / Keller's Brand Equity Model

There are many elements which are incorporated into producing a successful brand. Keller's Brand Equity model demonstrates how to craft a brand which is powerful, and makes the customer feel a certain way.

"The concept behind the Brand Equity Model is simple: in order to build a strong brand, you must shape how customers think and feel about your product. You have to build the right type of experiences around your brand, so that customers have specific, positive thoughts, feelings, beliefs, opinions, and perceptions about it.

When you have strong brand equity, your customers will buy more from you, they'll recommend you to other people, they're more loyal, and you're less likely to lose them to competitors."

From the image above it can be seen that there are multiple things to consider when building a brand. Relationships, Response, Meaning and Identity. 

1. Relationships

"In this first step, your goal is to create "brand salience," or awareness – in other words, you need to make sure that your brand stands out, and that customers recognize it and are aware of it"

2. Response

"Your goal in step two is to identify and communicate what your brand means, and what it stands for. The two building blocks in this step are: "performance" and "imagery."

"Performance" defines how well your product meets your customers' needs. According to the model, performance consists of five categories: primary characteristics and features; product reliability, durability, and serviceability; service effectiveness, efficiency, and empathy; style and design; and price.

"Imagery" refers to how well your brand meets your customers' needs on a social and psychological level. Your brand can meet these needs directly, from a customer's own experiences with a product; or indirectly, with targeted marketing, or with word of mouth."

In relation to these two initial stages of creating a powerful brand, as Olins suggests in terms of branding, brands "need to create a consistent, clear idea of who they are and how they do things” (Olins, 2003, P 64). Therefore, this correlates with Keller's model, as it describes the method of establishing a clear identity for the brand, to keep it standing out amongst other similar brands. The brand should have a specific rhetoric and image that engages an audience and allows them to be recognisable. Think Coca Cola, you know who they are from the name and even the colour red which is their primary colour. This idea would come under the title 'imagery' on the diagram, as it considers what imagery the brand will have to make an impression upon the consumer, depending on the target audience, purpose and tone of voice. It also considers the relationship between the consumer and the brand, what decision making process they will have when choosing the brand, and why. Klein puts forth the idea that “the more advertising there is out there…the more aggressively brands must market to stand out” (Klein, 2009, P 09)

3. Brand Response

Your customers' responses to your brand fall into two categories: "judgments" and "feelings." These are the two building blocks in this step.

Your customers constantly make judgments about your brand and these fall into four key categories:

• Quality: Customers judge a product or brand based on its actual and perceived quality.
• Credibility: Customers judge credibility using three dimensions – expertise (which includes innovation), trustworthiness, and likability.
• Consideration: Customers judge how relevant your product is to their unique needs.
• Superiority: Customers assess how superior your brand is, compared with your competitors' brands.

As Olins proposes, “if all the competitors are good, the one with the best reputation wins” (Olins, 2003, P 08), which means that brands must strive to achieve the categories Keller lists, in addition, this places most of the power on the consumer, reinforced by Olins -  “customers have ultimate power” (Olins, 2003, P 09). Since they are the ones purchasing the products from the companies, the consumers have the power to supply the profit to the businesses. It is the brand's responsibility to ensure they stand out and provide quality to the consumer to gain their business. 

Niomi Klein however suggests that “too often, however, the expansive nature of the branding process ends up causing the event to be usurped,

creating the quintessential lose-lose situation. Mot only do fans begin to feel a sense of alienation from (if not outright resentment toward) once-cherished cultural events, but the sponsors lose what they need most: a feeling of authenticity with which to associate their brands.” (Klein, 2009, P 36)

4. Resonance 

Brand "resonance" sits at the top of the brand equity pyramid because it's the most difficult – and the most desirable – level to reach. You have achieved brand resonance when your customers feel a deep, psychological bond with your brand.

Keller breaks resonance down into four categories:

• Behavioral loyalty: This includes regular, repeat purchases.
• Attitudinal attachment: Your customers love your brand or your product, and they see it as a special purchase.
• Sense of community: Your customers feel a sense of community with people associated with the brand, including other consumers and company representatives.
• Active engagement: This is the strongest example of brand loyalty. Customers are actively engaged with your brand, even when they are not purchasing it or consuming it. This could include joining a club related to the brand; participating in online chats, marketing rallies, or events; following your brand on social media; or taking part in other, outside activities.

If a brand is to achieve the list above, it is clear to say that the brand will be successful. As Pierre Martineau explains, “you want the customer to fall in love with your product and have a profound brand loyalty when actually content may be very similar to hundreds of competing brands.” “the first task is one of creating some differentiation in the mind—some individualization for the product which has a long list of competitors very close to it in content." (Packard, 1980, P 65)

Analysis / Religion

In terms of religion, this hierarchy model can apply. Speaking in terms of Christianity for the ease of this analysis, it all begins with who they are and what they stand for. Christianity stands for the teachings of Jesus Christ/God, usually involving love and acceptance of your neighbour, the avoidance of sin (10 Commandments) and following the path to eventual heaven. This is all stated within the religious teachings, The Bible. Straight away a connection is made with the 'audience' of what the religion is. Secondly, the relationship between the religion and the individual is established, the individual is a devotee to a practice, a belief. They believe that these particular teachings are the correct way to live, and so they form a relationship between the religion and the icon of the religion which is Jesus Christ. 

The image is formulated by the historical religious art surrounding Christianity, there is an image of how we imagine Jesus and the Devil, in addition there is the official logo within the cross. The cross is so iconic that it is globally recognised as the symbol of Christianity.

The third stage which is brand response, is related to religion in terms of how it makes the audience feel and how they judge the religion. Religion supplies needs to the consumer, and they will then make judgements on how well this adheres to their personal needs as an individual. Religion offers comfort in hardships, a meta narrative and establishes the means to an end giving a semantic element to our lives, and it helps the audience learn lessons and values which can then be transmitted through generations. As Freud suggests, “only religion has an answer to the question of the purpose of life” (Freud, 2004, P 16) As a critique of religion and its function, Marx proposes that “religion disillusions man to make him think and act and shape his reality like a man who has been disillusioned and has come to reason, so that he will revolve round himself and therefore round his true sun. Religion is only the illusory sun which revolves round man as long as he does not revolve round himself.” (Marx, P 37-8) 

As for the fourth section, it is important to Christianity that the audience is loyal to the teachings and keeps up with their beliefs in order to achieve eternal life in Heaven. Audience members also may have a special connection with their faith and God. There is a sense of community supplied to the audience through the congregation of the Church which a mass of individuals convene for worship, special events and ceremonies. Engagement is up to the audience however usually christianity encourages regular worship and involvement. 

References

FREUD, S., RIVIERE, J., & STRACHEY, J. (1963). Civilization and its discontents. London, Hogarth Press.

KLEIN, N. (2009) No logo: No space, no choice, no jobs. 10th edn. London: HarperCollins Publishers.

Keller’s brand equity model: Building a powerful brand. Available at: https://www.mindtools.com/pages/article/keller-brand-equity-model.htm (Accessed: 18 December 2016).

MARX, K., Translated, A.J., O’Malley, J., Edited and O’Malley, J. (1970) Critique of Hegel’s ‘Philosophy Of Right’. Cambridge, United Kingdom: Cambridge University Press.

OLINS, W. (2003) Wally Olins on B(r)and. London: Thames & Hudson.

PACKARD, V. (1980) The hidden persuaders. Pocket.

COP 03 / Jesus in Disneyland

Jesus in Disneyland

A key text which has helped me formulate the links within my essay is Jesus in Disneyland by sociologist David Lyon.

Within his book he describes the cultural and social situation that religion has found itself in within this century. Because of brands such as Disney which dominate the media world, religion has found new ways to harmonize within these cultures.


Useful Quotes 

“Conventional religion…is caught at a curious cultural juncture” (P 26)

“Disneyland is a social and cultural symbol of our times” (P 26)

“Disneyland also points up the ambiguities and ironies of modernity and postmodernity, as well as their sources, the proliferation of new communications media, and the growth of consumerism.” (P 26)

“Disneyland as a cultural symbol also hints strongly at questions of authority and identity, and of time and space, each of which is crucial for a contemporary understanding of religion, spirituality and faith” (P 26-27)

“By the end of the twentieth century Disney had become a byword for commercial culture, a symbol for animated cartoon lives, a model for tourist activities, and a mode of imagination.” (P 27)

“It was also a way of communicated, a herald of technological futures, an architectural inspiration, and a guide to city planning” (P 27)

“Under these conditions, it would be surprising if Disney did not have a religious relevance” (P 27-28).

“Disney Parks “encourage the consumer to relate to America as a spectacle rather than as an object of citizenship” (P 29)

“Disneyfication makes social conflict temporary and abnormal, emphasises individual rather than collective action and generally acts as a mouthpiece for the American Way” (P 29)

“Disneyfication subtly organises our lives, even while letting us think that we are in a realm of release and escape” (P 29) (Link)

“Consumers want to be thrilled not only by the guarantee of the good but also by the shudder of the bad” (P 29-30)

“May be viewed as a process that diminishes human life through trivialising it” (P 30)

Alan Bryman: “the process by which /the principles/ of the Disney theme parks are coming to dominate more and more sectors of American society as welll as the rest of the world.” (P 30)

_Theming_ “Theming creates connections and thereby gives a particular ambience to a complete environment” (P 31)

“may be seen as postmodern surrogates for narratives (even meta-narratives) which, however fragmentary or temporary, tell tales within which lives may be located” (P 31)

Alan Bryman: “Forms of consumption associated with different institutional spheres become interlocked with each other and increasingly difficult to distinguish” (P 31)

“Dedifferentiation accentuates the consumer culture, in which consumption becomes an order of life” (P 32)

“Disneyization involves emotional labour.” (P 33)

“Disney employees are supposed to give the impression that they are having fun too and not really working” (P 33)

“In several significant respects, religion is being both Disneyfied and Disneyized.” (P 34-35)

Jean Baudrillard: “It is Disneyland that is authentic here! The cinema and TV are America’s reality…not the galleries, the churches, the culture.” (P 16)



Supporting evidence:

Another text which backs up these ideas is Mara Einstein's Brands of Faith:

“Religious organizations have taken on names, logos or personalities, and slogans that allow them to be heard in a cluttered, increasingly competitive marketplace.” (Preface xi)
“These institutions are competing not only among themselves, but also with the popular culture.” (Preface xi)

“Churches advertise on billboards and in print media. Books sell us all types of religious and spiritual wisdom. Television has become overrun with religious content with no fewer than eight channels presenting sermons and faith-based programming 24 hours a day, not to mention religious content in broadcast prime time and as regular content for nightly news magazines.” (P 04)

Passion of the Christ:
“The Passion started with a defined target audience, created secondary targets through promotion and publicity, and perpetuated the product’s relevance through creating ancillary businesses. (P 04)



Analysis:

These texts have given me a rich insight to the methods in which religion is competing with other brands and also becoming a brand itself, and reinforced the argument that has been put forth in my writing. Possible case studies such as Disneyland and Passion of the Christ have also become a good option to back up ideologies in my essay which these texts have given me insights into.




EINSTEIN, M (2008). Brands Of Faith. Oxfordshire, Routledge

LYON, D. (2000) Jesus in Disneyland: Religion in Postmodern times. Cambridge, UK: Polity Press in association with Blackwell Publishers.

Lyon, D. (2000) Jesus in Disneyland: Religion in Postmodern times. Cambridge, UK: Polity Press in association with Blackwell Publishers.

COP 03 / Methodology Plan

Methodology

In order to plan out how research will be conducted, there must be considerations into methodology. E.G library, internet, diary, observation, drawing, writing, questionnaire. The aim of my primary research is to gather data by professionals, religious figures and religious individuals to find out the current status of religion in regards to branding, and whether people have noticed this connection inside and outside the realm of graphic design.


Interview:

Interviews will require permission and time from the interviewee. To gain sound qualitative data, a rapport should be established which can take time which will not be as feasible within the time frame. Data must be protected in terms of anonymity if interviewee prefers, and the option to withdraw should also be introduced at the start of any interview. Since it would be qualitative data issued from an interview, the nature of it could be sensitive, and some may not want to answer, which would be a problem for collating true data.

Internet:

The internet will be a useful source for a lot of research during the module. Case studies will be collated, and some information will be unavailable to me unless I use the internet. For example, I will be researching famous individuals such as Marilyn Manson - someone I cannot readily contact myself. Finding information about religious distribution and also online PDFs will be a pinnacle element to my project too.

Questionnaire:

Questionnaires offer the chance to collect qualitative or quantitative data. Quantitative data is not rich in subjective data, it is on the objective side as numerical data can possibly be generalised. Qualitative data can still be collated from questionnaires, however it could be possible that due to the general fast nature of questionnaires, rich data could be compromised due to variables such as the participant only sharing parts of information, or not completing the questionnaire accurately. Questionnaires can be done by post or online. Postal questionnaires can focus on specific areas, meaning they are easy to control. Due to the questionnaire being completed in private, respondents may have time to mull over their answers and be more honest due to the element of anonymity. However postal questionnaires generate a low response, and answers may not have full clarity. Questionnaires can also be sent via email, which is a more convenient way of asking questions and will be one that will be included in my methodology. Since I am wanting to ask professional designers and holy figures questions, this is a great way to reach individuals that I could not in person.

COP 03 / Practical / Jesmonite experiment 02

Following the previous attempt, I started again. The first step being molding clay (the best part). This time I avoided a large grotesque shape, and tried to formulate a more abstract and attractive style, which still communicates the idea of 'natural' rock. Although rocks are imperfect, I noticed how difficult it was to ensure it looked natural, and not too over done. This was achieved by not being so precious about where I was mark making, and cutting away loosely at parts of the model.

Using the different objects to create texture was the most effective, combining them to layer different textures together e.g crystal and bark.

To achieve a more focal area around the logo, but aiming to remain authentic, I roughly cut away on the rock with tools to create a flat area and proceeded to emboss my logo onto the clay using the laser cut. 

As can be seen here, the mold looked much smaller than the last prototype which is what I was aiming for.

This time there was a protective lid placed over the nozzle. The cardboard was set up cto create the cast, exactly the same as previously. Vinamold was then poured into the cylinder. 

   

This time there was a lot of initial bubbling on the vinamold which is never really a good sign. 

The following day the mold was opened to reveal the cast. Unfortunately to make matters more difficult, the nozzle had melted under the heat of the melted vinamold. This meant that the cast of the product had more room around the nozzle which would likely mean when the mixture would be poured in to cast the shape, it would seal the bottle and render it unusable. To avoid the jesmonite doing this, clay was added around the sides of the bottle, to attempt to preserve the function of it. 

Jesmonite was poured in and left for 30 minutes. Upon taking the cast out, the clay had distorted the intended shape, and was embedded within the structure. To clean it up, using tools the clay was chipped and picked away. However, the shape of this bottle looked as though the bottle was erupting from the form, and still actually appeared to have a dynamic look to it. 

This will now be further cleaned up and tested.

COP 03 / Practical / Jesmonite experiment 01

The cast was created and had worked, however I encountered a problem initially with the top of the bottle being submerged within the vinamold, this trapped the top of the bottle in the mold and so I had to try and work around this. I removed the bottle from the clay mold and placed it into the vinamold cast.

For the mixture I chose to use Jesmonite which will give the matte 'dusty' effect I want. Jesmonite is similar to concrete, and pigment can be added to it. I wanted the stone to be white, to give the appearance of light and purity. Initially I mixed too little of the Jesmonite, and had to remix it which caused slight colour differences - something Ii'd want to avoid.

The second problem I encountered was that although the bottle had the water inside, there wasn't enough in the bottle for it to be fully weighted down, and it floated up, therefore the mixture entered the area where the bottle was supposed to be.

This means I get an idea of how the product would look, but it is not functional. For submission, I'd want a fully functional bottle.

As for the bottle itself, I didnt think it was worth trying this cast again. I did not like the shape of the bottle for the purpose. It did not communicate a sense of 'pureness', and looked fair to bulky. Although I liked the concept behind the shape, the next developments will be making the entire thing again and call this a prototype experiment.

From learning skills, I now know how to improve the next version. I must start out by modelling a more abstract, current and 'sleek' shape, rather than a fat one. Perhaps I can also make the area where the logo is more obvious and official. I will also weigh down the bottle when it comes to pouring the jesmonite into the cast, to avoid it floating up to the surface because of any air in it.

COP 03 / Practical / Ten commandments & 7 sins

One idea that I wanted to experiment with was the idea of featuring the deadly sins, or the ten commandments in the promotional material / tagline. The idea revolves around the concept of repentance, forgiveness from God for any sins the consumer has subjected themselves to. The posters would feature images of the sins, and I wanted to experiment with methods of 'concealing' and erasing the sin, such as filling with colour, changing the colour and distortion.

Since I have established a developed aesthetic for the branding this was translated onto the following experiments. I chose to use renaissance paintings as the 'sin' to create a juxtaposition between the contemporary branding for holy water (using a very impactful wide sans serif and glyphs).

Problems I found with this experiment was that it was hard to find relevant paintings for the other sins, so this would make the whole promotion quite redundant if there was only certain commandments/sins featured.

'Repent with Holy Water' incorporates a sense of authority by using a imperative sentence, relating back to my research into brand theory and using Vance Packard's theories on how advertisements gain sale; e.g “The sale of billions of dollars worth of products hinged to a large extent upon successfully manipulating or coping with our guilt feelings, fears, anxieties, hostilities, loneliness feelings, inner tensions” (Packard, The Hidden Persuaders, 1980, P 74). The use of the word 'repent' may instill a feeling of guilt and compulsion, prompting the consumer to buy the product, to feel closer to their God and forgiveness.

Although this idea has weight to it, it does not seem to work efficiently as an advertising campaign at this stage. More experiments with other ideas will give me a better understanding of what it is I want to communicate, and working out how to incorporate more of Vance's theories.

COP 03 / Casting a Rock / Clay

To begin I took my spray bottle and filled it with the actual Holy Water (so it's authentic...), in preparation for making the cast.

In the ceramics room I began by hand crafting my 'stone' using clay, which will then be used to create the cast. Although it is supposed to look natural, my inspiration behind the shape is the boulder that Jesus emerges from when he comes back from the dead, so I still had to make sure that the shape looked authentic, but as precise to the shape I wanted.

I used various objects to create texture such as crystals, tree bark, stamps and broken wood. By combining these objects I was able to achieve a natural look:

What I found difficult was ensuring that the stone remained circular, as I worked on other sides I noticed that it became more and more flattened by working on the textures. This is what took up the most time. Eventually I achieved the shape I wanted roughly.

I was advised that it may be easier to place the bottle in the clay by cutting it in half and scooping out the shape of the bottle inside, to then come back together. I did this and then had to make sure that the line where I had cut the clay was not visable, which I easily did with the objects I had previously used.

The next step was to emboss the logo onto the clay. Yesterday I had laser cut my logo 4cm x 2.5cm in size, in order to push into the clay. This technique would allow the logo to look like it is already naturally part of the rock, just like the other marks I had made on it. 

It was quite fiddly as there was the main cross part and then the small drip at the bottom. Problems I could face with this is that it may not cast this very accurately because of any air bubbles that get caught in it, but it is something I will be testing out and hoping for the best.

The next step is to place the clay on a wooden board and wrap a circle of cardboard around it, securing it with clay, in which the melted vinamold (which needs to be melted in a pot for around an hour / an hour and half) will be poured to create the cast. Vinamold is more cost efficient than silicone and can be reheated and used again.

The vinamold was poured into the cardboard and left to set overnight.