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Project 1A - a Hybrid

(Communication + Innovation)
Creative Systemic Model
What annoyed me:
The currently creative and financial limitations of currently advertising agencies due to the
foundation system in which they are all built upon.

My solution:
To create and implement a hybrid creative platform design that would allow a single creative
structure to synergetically combine communication design and innovation development
projects.

Notes: In this project I was solely responsible for the entire design process, from research
to presentation, including (1) Problem Identification (revenues system, business issues and
market necessities), (2) Concept Creation (hybrid model, processes approaches, new
methodologies), (3)  Content Elaboration (names, logos, taglines and illustrations), (4) Project
Communication (Q&A session, website implementation, project descriptions, texts).

No photos available. But I uploaded some graphics that would help to visualize the whole
concept. This Hybrid model is being implemented at www.griffenn.com

*You can read this same material with hyperlinks and pictures at http://griffenn.com/?p=130
Project 1A - a Hybrid (Communication + Innovation)
Creative Systemic Model
Additional Graphic Material:

Page 1: CURRENTLY ADVERTISING MODEL

This infodynamic maps shows (1) the new business is usually centralized - the “Great Strategist Style”; (2) how
dependable is the system when all the new business relies on a single source for develpment and revenues; (2) that the
model is mostly passive because it is designed to respond only when the client are in need of communication services.

Page 2: PROPOSED PARALLEL HYBRID CREATIVE MODEL

This infodynamic maps shows (1) the new business generator department have a systemic view of the company
creative processes; (2) both communication and innovation processes happen in synergy; (3) the hybrid model balances
the passive and the pro-active cycles making the system more efficient and intelligent regarding the use of creative time
and project budgets
ADVERTISING AGENCY WHIT CENTRALIZED NEW BUSINESS - “GREAT STRATEGIST” MODEL

PROSPECTING

BUSINESS GENERATOR
(OWNER)
prospects NEW
BUSINESS
promisses

STUDIO
ACCOUNTING (ART)

MEDIA PRODUCTION
PLANNING CREATION

C-2

requests material
C-1
C-3
C-1: CLIENT RUNNING
C-2: CONCEPT

NEW JOBS C-3: CAMPAIGN

INFORMATIONAL FLOW

CONTROL POINTS

DEPARTMENTS / ACTIVITIES
PARALLEL HYBRID CREATIVE MODEL WITH A BUSINESS GENERATOR DEPARTMENT

opportunity cycle

pitching

P-0: IDEA DRAWING new


necessities
INNOVATION DEVELOPMENT P-1: PROTOTYPE FEASIABILITY

P-2: STRATEGY ELABORATION


PRO-ACTIVE PROCESSES: RISK MANAGEMENT
(ANALYSIS) P-3: PROPOSAL DETAILING
P-4: PROJECT OR PRODUCT PRESENTATION

P- 4 P- 0
P-3 P- 1

P- 2

CLIENT PLANNING
ACCOUNTING MEDIA CONSUMER
RESEARCH TOR
ERA (editing, internet, design)

SS GEN
INE DEVELOPMENT
BUS
STUDIO
CONSUMER CREATION PRODUCTION
CLIENT

C-2

C-1 C-3
C-0
C-4

C-0: SITUATION DESCRIPTION

COMMUNICATION DESIGN C-1: SCENARIO EVALUATION


C-2: CONCEPT FORMATING
RESPONSIVE PROCESSES : PROBLEM IDENTIFICATION
new C-3: CONTENT STRUCTURING
(SOLVING)
opportunities
C-4: MATERIAL OR CAMPAIGN FINALIZATION
advertising

necessity cycle
INFORMATION FLOW

CONTROL POINTS

DEPARTMENTS / ACTIVITIES
Projetc 1B: a New Timeline Format
for ScriptWriting

What annoyed me:


The currently timeline used in Hollywood for scriptwriting is good but too dificult
for beginners to visualize the whole development of the story.

Proposed solution:
To divide the 3 acts timeline in 13 parts that would help writers to evolve the
story part by part.

Notes: In this personal project I was looking for a way to understand the
creative process behind a scriptwriting and how to make it easy to understand
and visualize the underlying matrix pattern of a storytelling and combine it with
the unfolding script development structure of plots, sequences, scenes and
acts.

No photos available. But I uploaded some graphics that would help to visualize
the whole concept. I am currently writing a filmscript using this new method.
Projetc 1B: a New Timeline Format for ScriptWriting

Additional Graphic Material:

Page 1: CURRENTLY HOLLYWOOD FORMAT

The graphics present the currently 3 acts timeline structure that most writers uses to format their stories. This
particular one was developed by Sid Field and is usually 120 minutes long.

Page 2: PROPOSED NEW TIMELINE FORMAT

Presents a study for a new version of a combined Sid Field 3 acts with a 13 division scale. The new scale creates a
spiral storyline and divides it in 13 parts of 10 minutes each in order to help writers to know where they are in the
evolution of the narrative. As a consequence it adds a 5 minute sequence at the beginning and another one at the
end. You can see a similar structure in use in the movie “Eternal Sunshine of the Spotless Mind”.
CURRENTLY SYD FIELD 3 ACTS TIMELINE FORMAT FOR SCRIPTWRITING

ACT 1: PRESENTATION ACT 2: CONFRONTATION ACT 3: RESOLUTION

30 90

0 60 120

Cena CENTRAL Cena


27 87 Final
Inicial 45 POINT 75
25 85
CONEC- CONEC-
PP1 TION 2 PP 2
TION 1

120 0 10

PLOT POINT 1 (PP1): it is a change in the direction of the story that leads
to act 2.
ACT 3 ACT 1 CONECTION 1: a scene, line or sequence that ties the plot and initiate it.
PP 2 PP1
85 25 CENTRAL POINT: it is the middle of the script. At this point happens a

90 30 chenge in direction in act2.


CONECTION 2: again a scene, line or sequence which put the end of act 2
in movement. Many times the TP1 might have a relation to TP2.
ACT 2
PLOT POINT 2 (PP2): it is a change in the direction of the story that leads
75 45
to act 3.
CONEC-
CONEC-
TION 1
TION 2 60
CENTRAL
POINT
New 3 acts, 2 levels + PMBOK Line + 13 Evolutional Cycle (130’: 5’ before + 5’ after)

ACT1: PRESENTATION ACT 2: CONFRONTATION ACT 3: RESOLUTION

30 90

0 60 120

Cena PONTO Cena


27 87 Final
Inicial 45 CENTRAL 75
25 85
PINÇA 1 PINÇA 2
PP1 PP 2

:-(.($.(-+ @%-."%)(-+ @%-."%)(-+ @%-."%)(-+


>"%'#**#* >)$--(-+&>"%'#**#* >"%'#**#* =?#',.(-+&>"%'#**#* >"%'#**#* @)%*(-+&>"%'#**#* >"%'#**#*

EB&:7#-.(2('$"&%&!"%!6*(.%& IB&:7#-.(2('$"&%&7#*$2(%& JB&:7#-.(2('$"&%&*#"/(0% NB&:7#-.(2('$"&$&2%"3$ OB&K%3$"&%&'%3$-7% PB&@%3$-7$"&$&(+,$)7$7#B RB&@%3$-7$"&$&M$"3%-(4$01%B LB&&@%3$-7$"&$&(-.#+"(7$7#B AB&&C%"3$)(4$"&$&$01%B EGB&H$-(2#*.$"&$&$01%B EEB&F(5#"$"&%&*#"/(0%B EIB&@%%!#"$01%&7$&C%"3$B EJB&K"$-*!%".$"B
!%7#"D&,-(2('$" !%7#"D&!%)$"(4$" !%7#"D&$.(/$" !%7#"D&7#2(-(" !%7#"D&!%.#-'($)(4$" !%7#"D&%"+$-(4$" !%7#"D&'$-$)(4$" !%7#"D&M$"3%-(4$" !%7#"D&!,)*$" !%7#"D&$!#"2#(0%$" !%7#"D&7(**%)/#" !%7#"D&7#7('$" !%7#"D&!#"*#/#"$"
$01%D&$."$(" $01%D&#*.$5()(4$" $01%D&/(-',)$" $01%D&3#7(" $01%D&'%3$-7$" $01%D&#Q,()(5"$" $01%D&(-*!("$" $01%D&3%7#)$" $01%D&"#$)(4$" $01%D&!"%7,4(" $01%D&)(5#"$" $01%D&,-(/#"*$)(4$" $01%D&."$-*'#-7#"&

$',3,)$" 2%"3$)(4$" !"#!$"$"


:-;'(%&<&=-."$7$ #*.$5#)#'#"&!"%!6*(.%&7%&'(')%&85$*#&7#&$01%9 #&"#,-("&"#',"*%*& #*.#-7#"&%&"(.3%&7$&$01% '%-/#".#"&$&$01%
$&$01% %&'(')%&*#+,(-.#

4d 1d 2d 3d 4d 1d 2d 3d 4d 1d 2d 3d 4d
" !" #" $" %" &" '" (" )" *" !"" !!" !#" !$"
Ending
Opening 30 50 80 90
1º level

PP1 PINÇA 1 PONTO PINÇA 2 PP 2


Closing
2º Level

Begining
CENTRAL

-5 0 35 65 95 120 +5
New 3 acts, 2 levels + PMBOK Line + 13 Evolutional Cycle (130’: 5’ before + 5’ after)

ACT1: PRESENTATION ACT 2: CONFRONTATION ACT 3: RESOLUTION

30 90 PLOT POINT 1 (PP1): it is a change in the direction of the

0 60 120 story that leads to act 2.


CONECTION 1: a scene, line or sequence that ties the
Cena PONTO Cena
27 87 Final plot and initiate it.
Inicial 45 CENTRAL 75
25 85
PINÇA 1 PINÇA 2 CENTRAL POINT: it is the middle of the script. At this
PP1 PP 2
point happens a chenge in direction in act2.
CONECTION 2: again a scene, line or sequence which put

:-(.($.(-+ @%-."%)(-+ @%-."%)(-+ @%-."%)(-+ the end of act 2 in movement. Many times the TP1 might
>"%'#**#* >)$--(-+&>"%'#**#* >"%'#**#* =?#',.(-+&>"%'#**#* >"%'#**#* @)%*(-+&>"%'#**#* >"%'#**#*
have a relation to TP2.
EB&:7#-.(2('$"&%&!"%!6*(.%& IB&:7#-.(2('$"&%&7#*$2(%& JB&:7#-.(2('$"&%&*#"/(0% NB&:7#-.(2('$"&$&2%"3$ OB&K%3$"&%&'%3$-7% PB&@%3$-7$"&$&(+,$)7$7#B RB&@%3$-7$"&$&M$"3%-(4$01%B LB&&@%3$-7$"&$&(-.#+"(7$7#B AB&&C%"3$)(4$"&$&$01%B EGB&H$-(2#*.$"&$&$01%B EEB&F(5#"$"&%&*#"/(0%B EIB&@%%!#"$01%&7$&C%"3$B EJB&K"$-*!%".$"B PLOT POINT 2 (PP2): it is a change in the direction of the
!%7#"D&,-(2('$" !%7#"D&!%)$"(4$" !%7#"D&$.(/$" !%7#"D&7#2(-(" !%7#"D&!%.#-'($)(4$" !%7#"D&%"+$-(4$" !%7#"D&'$-$)(4$" !%7#"D&M$"3%-(4$" !%7#"D&!,)*$" !%7#"D&$!#"2#(0%$" !%7#"D&7(**%)/#" !%7#"D&7#7('$" !%7#"D&!#"*#/#"$"
$01%D&$."$(" $01%D&#*.$5()(4$" $01%D&/(-',)$" $01%D&3#7(" $01%D&'%3$-7$" $01%D&#Q,()(5"$" $01%D&(-*!("$" $01%D&3%7#)$" $01%D&"#$)(4$" $01%D&!"%7,4(" $01%D&)(5#"$" $01%D&,-(/#"*$)(4$" $01%D&."$-*'#-7#"&

$',3,)$"
story that leads to act 3.
2%"3$)(4$" '%-/#".#"&$&$01% !"#!$"$"
:-;'(%&<&=-."$7$ #*.$5#)#'#"&!"%!6*(.%&7%&'(')%&85$*#&7#&$01%9 #&"#,-("&"#',"*%*& #*.#-7#"&%&"(.3%&7$&$01% %&'(')%&*#+,(-.#
$&$01%

4d 1d 2d 3d 4d 1d 2d 3d 4d 1d 2d 3d 4d
* !* "* #* $* %* &* '* (* )* !** !!* !"* !#*
Ending
Opening 30 50 80 90
1º level

PP1 PINÇA 1 PONTO PINÇA 2 PP 2


Closing
2º Level

Begining
CENTRAL 120 +5
Encerramento Final
2º patamar
!#
-5 0 35 65 95 120 +5
!"
!

Abertura
1º patamar Início "

-5 0

!!

ACT 3 ACT 1 #

30 PP 1
Character Dialog Shooting Plan Scenario Action-Sinchrony
!* 95
35
$

PP 2 90
)
ACT 2
%
0d 1d 2d 3d 4d
65 PINÇA 1
PINÇA 2 80
(
& 50
'
PONTO
CENTRAL
Project 1C - Three conceptual ideas
What annoys me:
1) That I canʼt easily find a good Brazilian cachaça brand in US market

2) That I usually donʼt cook gourmet meals at home because by being single I donʼt have the
time to buy all the necessary ingredients and also because most of those ingredients are
too expensive to buy to cook for just one person.

3)That I canʼt find a restaurant with a menu specially designed for my own blood type.

My solutions:
1) To create a new shot glass drink packaging as a way to conquer the american consumer.*
2) To create a new kind of cook-out restaurant
3) To create a new kind of restaurant based on the Blood Type Diet.
1)
BEBA MODER
4567 ADA
45 6 ME 4567
BEBA MODER
J3 45 6
ADA
NP NT
E- J3 ME
-C NP NT
-C E-

BE
EIR

A
B ID
Shot

BE
SIL

EIR

B ID
AC
Shot

RA

SIL

AC
ERIDA - INDÚSTRIA B

RA
OM

ERIDA - INDÚSTRIA B

OM
ALTO TEOR ALCOÓLI

ALTO TEOR ALCOÓLI


EQU

EQU
CO
ER
single power drink

CO
ER
NT

-
single power drink

PR
TE

NT

-
OI

PR
PA

TE
B
ID

OI
-

PA
S A

B
AV ID
EN NO - S A
DA 8A AV
NO
PARA M ORES DE 1 EN
#'#
EN DA 8A
PARA M ORES DE 1
$%& #'#
EN

!"# $%&
!"#

Getting a spot in the crowded US licquor market. How to


enter into a though market with competitors like the American
Bourbon, the Scottish Whiskie, the Russian Vodka, the
Japanese Sakê and the Mexican Tequila? Would there be a
place for the Brazilian cachaça?

More about this project at: http://griffenn.com/?p=264

2) 3)

The+le+kit+Essen. A new conceptual THAT BLOODY RESTAURANT. Another


´cook-out restaurant´ where the client kind of conceptual restaurant. This time
chooses the gourmet dishes from their the restaurant menu and meals are all
website restaurant menu and later on based on the special blood type diet.
pick up an individual pre-assembled This new diet says what food is best for
ready-to-cook package kit with fresh you to eat accordingly to your type of
ingredients to go home and cook, blood – A, B, AB or O.
including tutorial videos for i-pods to
perform like a real chef.
Projetc 1C: Three conceptual ideas

Additional Graphic Material:

Pictures of Shot Glass Drink Concept Homemade 15 minutes Prototyping Process