Today, we want to talk about Art Directors, probably the most maligned and misunderstood folks in any station.
Ed:
Well, misunderstood by many writers, copywriters and managers, that's for sure. And yes, I'll admit it: I don't understand Art Directors. More specifically, how their brains work.
Rich:
I've managed enough designers over the years that I should, but I can always do better.
Ed:
As writers, you and I know how to structure scripts, look for angles, find nice word plays and don't
get me started on double entendres! (h/t to Mr. Buddy Young) But I'm in total awe of Art
Directors who obviously see the world different than I. They can take "I'd like a retro look that
doesn't say old, with a green feel" and turn it into something that looks, like, well, retro green, but in a way that I could never visualize.
Rich:
The way I can put it is that my worst designer is a better designer than my best producer.
The best producer/director I've ever worked with was used to working quickly and having to design
his own graphics when he came to KGW. But, I had Jeff Patterson, the best design director a
manager could ask for (and who is still doing incredible work at the station), and a great team of
designers, who each had unique talents in different areas. For the first few months working together here in Portland, I sometimes got a visit by Jeff, who gently said "he's designing again." When you've got Babe Ruth in your lineup, let him hit...a lot. Let the designers design. It's always a concern, though, when a writer starts working on a project.
Ed:
But that doesn't mean that every concept should be driven by graphics, right?
Rich:
No, but often, it can. It all comes down to communication.
Ed:
Yep. And, just by coincidence, I have several ideas on how a writer or creative director
can communicate a concept, or better yet, collaborate with an AD.
Rich:
I'm all ears.
Ed:
First, don't be afraid to offer a starting point. I like motionographer.com for inspiration. Luis
Martinez, an amazing AD, turned me on to this incredible site; I assume all designers are familiar with
it and that it's kinda like Fight Club. You know how you're not supposed to talk about it...
Going to a site like this, or vimeo.com (of course) is a must for being aware of styles and trends.
More importantly, though, it gives you, the writer, an insight into how these people view the world and gets you off the copy-only solution.
Rich:
Too much copy makes for a dull spot.
Ed:
That's kind of your mantra, Rich. Which leads me to this unoriginal, but valid point: Each spot should be envisioned as a print ad.
Rich:
You're losing me.
Ed:
This forces you to hone your message by combining compelling copy and visual. It also fosters
collaboration before the concept is hatched, instead of adding graphics (or copy, for that matter) as
an afterthought. In fact, you can always tell when an ad or spot is the brainchild of a writer/artist
union: The spot is better than the sum of its parts.
Rich:
I would say that the most important thing to do is bring your designer (or AD) into the process from
the very start. They will always bring fresh ideas to the table, and often keep you or your producer
from doing "the same old thing." I think that too many creative directors just ask their designers for a tag or lower-third.
Ed:
Agreed. Art Directors thinks differently than writers/producers ever can. Go to graphic designers'
sites for inspiration. Conceive the spot as a collaboration.
Rich: Yeah, man. Designers rock. When I was working at Fisher Communications, I told one of the
corporate VP's that you could always tell a dominant station in the market by their "look" and art direction. I meant it. A great design director helps create more than your look. They create your brand and help make your spots pop. Release the hounds!
Ed:
Now, if only we could get an Art Director to fix The Promo Code's website.
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