ملاحظات
الفصل الثالث: التفكير الإبداعي
(1)
Alex F. Osborn, Your Creative Power: How to Use
Imagination (New York: Charles Scribner’s Sons,
1948).
(2)
Semyon D. Savransky, Engineering of Creativity
(Boca Raton, Fla.: CRC Press, 2000).
(3)
Richard Serra, Museum of Modern Art, New
York; www.moma.org.
الجزء الثاني: صياغة فكرة الإعلان
الفصل الرابع: فكرة العلامة التجارية
(2)
Rob Walker, “Consumed: Lululemon Athletica Promotes
Yoga as a Lifestyle Brand,” New York Times Magazine, 21 July
2009.
(3)
Annual Review of Psychology 60 (2009):
475–99
(4)
In Robin Landa, Thinking Creatively: New Ways
to Unlock Your Visual Imagination (Cincinnati, Ohio: North
Light Books, 1998), pp.146-47.
الفصل الخامس: الفكرة الكبيرة
(1)
Quoted in Peter Gay, Freud: A Life for Our Times (New York:
W. W. Norton & Company, 1998), 46.
(2)
A. H. Maslow, “A Theory of Human Motivation,” Psychological
Review 50: 370–96.
(3)
Grove Consultants International, “Strategic
Visioning Process,” in National Endowment for the Arts:
Resources, http://www.arts.gov/resources/lessons/GROVE.HTML.
(5)
Benedict Carey, “You’re Bored, but Your Brain Is Tuned
In,” New York Times, 5 August 2008.
الفصل السادس: كتابة الإعلان
(1)
Quoted in Denis Higgins, The Art of Writing Advertising:
Conversations with Masters of the Craft (Lincolnwood, Ill.: NTC Business
Books, 1990), 93.
(2)
Warren Berger, “Lunch with Tim Delaney,” Creativity, May
2001, 23.
الفصل السابع: الأساليب
(1)
Virginia Heffernan, “The Susan Boyle Experience,”
New York Times Magazine, 28 June, 2009, 16.
(2)
Andrew Adam Newman, “Madison Avenue Will Be Watching
FedEx’s Web Videos,” New York Times, 20 July 2009,
B4.
(3)
“A great deal of ephemera is associated with the
medicine shows—tickets of admission, broadsides advertising the
place and time of the show, forms for proprietors to book halls
or hotels for their troupes, songsters for the audience to join
in singing with the entertainers, advertising booklets, etc.”
In “Here Today, Here Tomorrow: Varieties of Medical Ephemera, Medical Show,” The United States National Library of Medicine, National Institutes of Health, http://www.nlm.nih.gov/exhibition/ephemera/medshow.html (accessed March 22, 2010).
(4)
John Berger, Ways of Seeing (New York: Penguin,
1990), p. 131.
(5)
William D. Wells, “Lectures and Dramas,” in Cognitive and
Affective Responses to Advertising, ed. Patricia Cafferata and Alice
M. Tybout (Lexington, Mass.: Lexington Books, 1989).
(6)
The Digital Rules of Engagement,” Adweek.com, 5 May
2008.
http://www.adweek.com/aw/content_display/community/columns/other-columns/e3i26f1bfd408799a2069ad1546ccdefb3f.
(7)
Gunn’s twelve master formats are: (1) demonstration, (2)
“show the need or problem,” (3) “symbol, analogy, or exaggerated
graphic to represent the problem,” (4) comparison, (5) “exemplary
story,” (6) “benefit causes story,” (7) “tell it” (also known as
“presenter,” “testimonial,” or “A-tells-B”), (8) “ongoing characters
and celebrities,” (9) “symbol, analogy, or exaggerated graphic
demonstrating a benefit of the product,” (10) “associated user
imagery,” (11) “unique personality property,” and (12) “parody or
borrowed format.” “The 12 Master Formats of Advertising,”
presentation by Donald Gunn, The Gunn Report, at the 2004 Cannes
Lions International Advertising Festival.
(8)
“The 15 Most Influential, Important, Innocuous,
Inane, and Interesting Ad Icons of the Last 500 Years (In No
Particular Order),” Print 54, no. 6 (2000): 116.
(9)
Guides Concerning Use of Endorsements and
Testimonials in Advertising (Washington, D.C.: Federal Trade
Commission, 2009);
http://www.ftc.gov/os/2009/10/091005revisedendorsementguides.pdf.
(10)
Ibid.
(11)
Ibid.
(12)
For more information, see National
Storytelling Network,
www.storynet.org/resources/knowledgebank/whatisstorytelling.html.
(13)
Lee Lorenz, “Back to the Old Drawing Board: The
Evolution of the New Yorker Cartoon,”
www.cartoonbank.com.
(14)
Ian Gordon, Comic Strips and Consumer Culture,
1890–1945 (Washington, D.C.: Smithsonian Institution Press,
1998), 12.
(15)
Jeremy G Butler, “Cartoons”;
http://www.museum.tv/archives/etv/C/htmlC/cartoons/cartoons.htm
(16)
Stuart Elliott, “Soup Is Puttin’ on the Ritz,” New
York Times, 26 October 2005, 8.
(18)
Greg Farrell, “TV Commercials Offer Too Much of a
Good Thing All Over Again,” New York Times, 1 October
1998.
(20)
Alexandra Bruell, “Bloomingdale’s Reveals Film-Themed
Fall Campaign,” PR Week, 14 August 2009.
(21)
Heffernan, “The Susan Boyle Experience,”
16.
الفصل الثامن: الخطوط والتصور المرئي
(1)
Philip B. Meggs, Type and Image: The Language of
Graphic Design (New York: John Wiley & Sons, 1992),
18.
الفصل التاسع: التركيب
(2)
From Max Wertheimer, “Laws of Organization in
Perceptual Forms,” Psycologische Forschung 4 (1923):
301–350.
الجزء الثالث: التصميم عبر وسائل الإعلام
الفصل العاشر: الحملات ورواية القصص
(1)
Partially based on: Bob Garfield, “Top 100 Ad Campaigns,”
http://adage.com/century/campaigns.html.
(2)
Klaus Fog, Christian Budtz, and Baris Yakaboylu,
Storytelling: Branding In Practice (New York: Springer, 2005),
32.
الفصل الثاني عشر: تصميم الرسوم المتحركة والبرامج التليفزيونية والإنترنت
(1)
Heffernan, “The Susan Boyle Experience,” New York Times
Magazine, 28 June 2009, 16.
الفصل الثالث عشر: التصميم لمواقع الويب
(1)
“The Screens Issue: Multiscreen Mad Men,” New York
Times Magazine, 23 November 2008.
الفصل الرابع عشر: تصميم إعلانات الهاتف المحمول
الفصل الخامس عشر: تصميم وسائل التواصل الاجتماعي والتسويق غير التقليدي
(1)
Stephanie Clifford, “An Application to Help Scrub Those
Regrettable Photos from Facebook,” New York Times, 2 November
2009.
