Marketing is a fast-moving business, and digital marketing is even faster because it is changing all the time. “Just keeping up” can be hard especially when your own industry is changing rapidly, independently of what is happening online.
Medical device marketing shares some key strategies with healthcare marketing in general, however, it also presents a number of challenges that are best tackled with certain tools. TBA Digital’s Blackboard is a great starting point for any medical device marketing professional looking for resources, but let’s take a deeper dive into some of the digital tools that are best suited for medical device marketing.
CloudScape spins up a range of different VM instances on AWS, Google Cloud and Microsoft Azure to run popular benchmarks to test system performance and presents easy to understand performance statistics.
In this video, we take a look at two Olympic advertising campaigns. One campaign took home the gold and the other... just went home. How much of the Olympic glory, or shame, of those campaigns is attributable to their respective Creative Briefs?
Now we're going to take a look at a
couple of historic design projects.
Both began with creative briefs, but
one was widely seen as a failure,
the other, a great success.
The first is for the London Olympics
in 2012. Remember those games?
Even if you don't, I'll
bet you remember this:
The logo for the games set off
a firestorm of controversy. Or,
as they say in London: "kun-TRAH-va-see."
Although this design had and still has
its supporters, most people hated it.
So how did that happen?
The logo was designed by acclaimed
British firm Wolff Olins.
When it comes to agencies,
they're a pretty big deal with a
great body of work behind them.
Some time after the games,
a couple of their executives recounted
the process of how they arrived at one of
the world's most reviled logos. I mean,
obviously they weren't trying to come up
with a logo everyone was going to hate,
The creative brief they were working from
called for bringing the Games back to
the people. It was to be an
Olympics for everyone, everywhere.
Not just the athletes.
Like the event itself,
the logo was supposed to inspire
all of us to get out there and move.
Given that directive,
the designers knew they did not
want to include iconic landmarks,
like Tower Bridge or Big Ben.
They didn't even want
traditional athletic emblems,
like the winners' podium or torches.
As designer Brian Boylan put it,
they wanted something you could bump
into in the street. Okay, we get it.
But that doesn't really explain their
creative process. The logo, they said,
came out of something they
called an energy grid,
with rays bouncing around
inside a rectangle like this.
Then they froze a single frame.
Using the lines as guides,
they outlined the cluster of shapes that
eventually became the logo for the 2012
Games. Given the brief,
I think it's fair to say the designers
stayed within the parameters they were
assigned. They might have even been
inspired by it. So in that sense,
the brief did exactly what it was
supposed to do. So, what went wrong?
Did something go wrong?
I'll let you be the judge of that.
Obviously, the client was happy with it.
After all, they didn't send Wolff Olins
back to the drawing board. In fact,
they paid rather handsomely for
it. But looking at the logo,
does it actually follow the brief?
Does it say "sports for everyone"
or "person in the street"?
Our contention is that it does.
It almost has the look of graffiti--and
what could be more men in the street
than graffiti ?. Also,
it certainly did inspire some
people to get into the streets.
You know, I'm not sure those torches
meet IOC sponsorship standards.
My point is that Wolff Olins
followed the brief they were given.
But perhaps that brief
should have also stipulated:
Don't piss off 90% of the British
population when you finalize the design.
Our second case also involves
an Olympic branding campaign.
This one for Nike during the lead up
to the 1996 Olympic Games in Atlanta.
In this case, the brief's chief
takeaway, after much struggle,
was a quote from George
Orwell: "Sport is war,
minus the killing."
Interesting quote, huh?
The firm Wieden+Kennedy decided
that a single sentence would be the
essence of their brief
for the games. That,
and a book of photographs showing
athletes suffering for their sport.
Wieden+Kennedy spent months interviewing
athletes to learn what drove them.
And in the end, they came
up with a series of ads,
showing athletes collapsing
in pain, athletes vomiting,
runners jostling one another as they
rounded the last turn for the home sprint.
It was a gritty, controversial campaign.
And it was clearly inspired
by the creative brief.
And in sharp contrast to
the 2012 Olympic logo,
it was almost universally
loved. For the Nike campaign,
you can clearly trace the path from
creative brief to the final ads.
Going from "sport is war" to
athletes injured and in conflict is
not a stretch.
People were eager to see themselves
in these warrior athletes.
Sounds much more noble and
dramatic than, you know, consumers.
So it was a path that
people wanted to follow.
Even if the destination was not pretty.
The 2012 Olympic logo wasn't pretty
either. But more importantly,
the message behind it, the one
contained in the brief, was flawed.
With their brash and dissonant logo,
Wolff Olins wanted to say
something about London as a city.
And they did. Unfortunately,
they forgot that they were also supposed
to be saying something about the
Olympics--an event steeped in tradition.
It's really a series of ceremonies
built around even older competitions,
from parading a torch through the streets
to awarding the metals at the podium.
there you have it. Two
projects with similar subjects,
each launched by a clear
brief with a daring message.
The London 2012 campaign tried
to redefine what we wanted.
The Nike campaign gave us what we wanted.
The lesson here is that a creative
brief sets the course for your campaign.
A good brief is not a guarantee of a
win. But, like a set of starting blocks,
it'll give you a fighting chance.
A bad brief makes winning
the race almost impossible.
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