Summary of project
In this brief Amnesty wanted a way of having more involvement from young people.
The way I found of making them feel like human rights relevant to them was by establishing a connection between them and the victims using contrasting experiences of childhood.
To do that I chose an aspect of childhood that most people experience but take for granted, cartoons.
Cartoon characters are something that many people have a certain attachment to in terms of nostalgia since its something that accompanies them throughout their childhood.
I replaced nameless victims who the target audience feel distant from with popular cartoon characters who they are able to name and do share a connection with. I placed them in the environment the little children would be in, doing the labour they shouldn’t have to be doing.
This visual representation of juxtaposing experiences has a visual impact on young people because they see something that represents their life in a way, in an unfamiliar situation. This causes them to think and compare their childhood and almost feel guilty.
However, my campaign isn’t relying on the audience feeling guilty of their experience. Instead it offers them a chance to relieve their childhood through an outdoor Toonathon, and feel the excitement and happiness they felt when they were young. This opportunity will make them want to share this experience with less fortunate kids and be more willing to attend the event. The money from tickets would be donated to the victims of child labour.
The way I found of making them feel like human rights relevant to them was by establishing a connection between them and the victims using contrasting experiences of childhood.
To do that I chose an aspect of childhood that most people experience but take for granted, cartoons.
Cartoon characters are something that many people have a certain attachment to in terms of nostalgia since its something that accompanies them throughout their childhood.
I replaced nameless victims who the target audience feel distant from with popular cartoon characters who they are able to name and do share a connection with. I placed them in the environment the little children would be in, doing the labour they shouldn’t have to be doing.
This visual representation of juxtaposing experiences has a visual impact on young people because they see something that represents their life in a way, in an unfamiliar situation. This causes them to think and compare their childhood and almost feel guilty.
However, my campaign isn’t relying on the audience feeling guilty of their experience. Instead it offers them a chance to relieve their childhood through an outdoor Toonathon, and feel the excitement and happiness they felt when they were young. This opportunity will make them want to share this experience with less fortunate kids and be more willing to attend the event. The money from tickets would be donated to the victims of child labour.
Event edits
Event Twitter Page
#AmnestyToonathon ticket and wristband
The Next step for the campaign
Idea 1:
Outdoor cinema screen where viewers would be able to have a 90s cartoon marathon. The money from the tickets would be donated to children victims of child labour.
Possible hashtags #AmnestyCartoonathon #AmnestyToonathon #ToonestyMarathon #ToonAmnesty #ThrowbackToonathon
-Thought about keeping the Amnesty name on the hashtag so that the event looks more official and trustworthy. People that are familiar with the charity can see that it’s for a good cause, so they would be more inclined to come. Also it would filter out other meanings of cartoonathon.
I think it would work better as a walk in event rather than a drive in so that it’s more of a community activity. Noise levels could be problem but since its a cinema setting most people know the expected behaviour is to not be loud, but there could be volunteers to make sure it doesn't get out of control just in case.
One show a day I think wouldn’t appeal to a larger audience so I was thinking two shows. An average cartoon episode is around 20minutes long so maybe 5 hours of each show.
National children’s day will be on May 15th so I was thinking the event could run a week before.
Idea 2: The old toy sale where young people can get together and sell their old toys.
One problem I found with this idea is that most young adults don’t really keep a lot of their old toys and if they do they are probably not in a good state to sell or have a have some sort of an emotional attachment to the owner so they or unlikely to sell them, so I think the cinema idea would raise more money.
Idea 3: The Amnesty Dessert Truck where young people can buy desserts not just ice-cream in their area and the money would be used to help children. The truck would play the opening songs to the cartoons.
Toonathon copy:-Relive your childhood at the #AmnestyToonathon
-Bring the fun back into the childhood of all children
-Help children escape child labour by reliving your childhood at the outdoor.
- “Come to the #AmnestyToonathon and support children that don’t have a childhood”
Official Toonathon Twitter page:
-Info about the event
-Cartoon characters posts photos from event.
-Retweet other people’s photos from the event.
-Includes edits of the Toons attending the event
Outdoor cinema screen where viewers would be able to have a 90s cartoon marathon. The money from the tickets would be donated to children victims of child labour.
Possible hashtags #AmnestyCartoonathon #AmnestyToonathon #ToonestyMarathon #ToonAmnesty #ThrowbackToonathon
-Thought about keeping the Amnesty name on the hashtag so that the event looks more official and trustworthy. People that are familiar with the charity can see that it’s for a good cause, so they would be more inclined to come. Also it would filter out other meanings of cartoonathon.
I think it would work better as a walk in event rather than a drive in so that it’s more of a community activity. Noise levels could be problem but since its a cinema setting most people know the expected behaviour is to not be loud, but there could be volunteers to make sure it doesn't get out of control just in case.
One show a day I think wouldn’t appeal to a larger audience so I was thinking two shows. An average cartoon episode is around 20minutes long so maybe 5 hours of each show.
National children’s day will be on May 15th so I was thinking the event could run a week before.
Idea 2: The old toy sale where young people can get together and sell their old toys.
One problem I found with this idea is that most young adults don’t really keep a lot of their old toys and if they do they are probably not in a good state to sell or have a have some sort of an emotional attachment to the owner so they or unlikely to sell them, so I think the cinema idea would raise more money.
Idea 3: The Amnesty Dessert Truck where young people can buy desserts not just ice-cream in their area and the money would be used to help children. The truck would play the opening songs to the cartoons.
Toonathon copy:-Relive your childhood at the #AmnestyToonathon
-Bring the fun back into the childhood of all children
-Help children escape child labour by reliving your childhood at the outdoor.
- “Come to the #AmnestyToonathon and support children that don’t have a childhood”
Official Toonathon Twitter page:
-Info about the event
-Cartoon characters posts photos from event.
-Retweet other people’s photos from the event.
-Includes edits of the Toons attending the event
Final Campaign Posters
Working on the possible tagline and copy
The privilege of remembering Ash, Misty, Pikachu while at the same time countless children leave a reality they can’t escape alone.
When I say Pokemon how many characters can you see and name.
Now I say child labour, sweatshops, how many children can you see and name?
When I say Looney Tunes how many characters can you see and name.
Now I say child labour, panhandling and selling things on the street, how many children can you see and name?
When I say Looney Tunes how many characters can you see and name.
Now I say child labour, panhandling and performing on the road, how many children can you see and name?
Some children can live in a world of fantasy but other face a reality they can’t escape alone.
We remember character names from our childhood so well
What is reality called?
Fantasy has a name and a face which we remember for a long time.
Childhood isn’t all fun and games for everyone.
Most children have active childhoods, expect some use their energy to play while others have to work.
Word hard, just work hard
As a child how did you spend 18 hours of your day?
in those 20 minutes you spent watching Tom and Jerry how many shoes do you think a child could have polished?
in those 20 minutes you spent watching Pokemon how much recycling do you think a child could have collected?
in those 10 minutes you spent watching Looney Tunes how many bricks do you think a child could have stacked?
21 minutes of cartoons is a privilege.
Some children work 18 hours a day
Cartoons are a privilege
Feel as close to them as you do to these characters
Childhood should be fun for all
Share you’re beloved characters with all children by helping them escape from child labour.
The privilege of remembering Ash, Misty, Pikachu while at the same time countless children leave a reality they can’t escape alone.
When I say Pokemon how many characters can you see and name.
Now I say child labour, sweatshops, how many children can you see and name?
When I say Looney Tunes how many characters can you see and name.
Now I say child labour, panhandling and selling things on the street, how many children can you see and name?
When I say Looney Tunes how many characters can you see and name.
Now I say child labour, panhandling and performing on the road, how many children can you see and name?
Some children can live in a world of fantasy but other face a reality they can’t escape alone.
We remember character names from our childhood so well
What is reality called?
Fantasy has a name and a face which we remember for a long time.
Childhood isn’t all fun and games for everyone.
Most children have active childhoods, expect some use their energy to play while others have to work.
Word hard, just work hard
As a child how did you spend 18 hours of your day?
in those 20 minutes you spent watching Tom and Jerry how many shoes do you think a child could have polished?
in those 20 minutes you spent watching Pokemon how much recycling do you think a child could have collected?
in those 10 minutes you spent watching Looney Tunes how many bricks do you think a child could have stacked?
21 minutes of cartoons is a privilege.
Some children work 18 hours a day
Cartoons are a privilege
Feel as close to them as you do to these characters
Childhood should be fun for all
Share you’re beloved characters with all children by helping them escape from child labour.
Final cartoon characters
Below are the final drawings I create for the campaign
|
These are the reference images I used when creating my drawings.
|
Initial poster design and sketches
Possible backgrounds
|
|
Campaign Ideas dealing with child LAbour
AD&D Feedback for initial ideas
-Execute the children situation in the style of the cartoons.
-3 posters in 3 different style in which you are echoing the message (struggles of children)
-The characters should be doing whatever is the most emotive things they can do.
-I need a line, which says the one thing I want to say with this, it might come after I created the drawings.
-Start with three press ads and a line then take it ambient, digitally. Can go in multiple media.
-You could use the banksy graffiti art style. Recreate the cartoon character stencils and graffiti them into horrible conditions dirty street corner doing things that they would be doing if they were a child living in those conditions.
2nd idea:
Like an ambient idea. You thought about it in situ anywhere where there is children working if you give them tools for working instead of toys. Would you want your five/six year olds to be working instead of playing with things children their age would play. Got children playing with their DS while other children are taking apart apple products in china.
-Similar to previous campaign
-Lewisham toy library you be able to see children in action and talk to them, the idea of the toy push it further.
-Make people think a little bit.
-Execute the children situation in the style of the cartoons.
-3 posters in 3 different style in which you are echoing the message (struggles of children)
-The characters should be doing whatever is the most emotive things they can do.
-I need a line, which says the one thing I want to say with this, it might come after I created the drawings.
-Start with three press ads and a line then take it ambient, digitally. Can go in multiple media.
-You could use the banksy graffiti art style. Recreate the cartoon character stencils and graffiti them into horrible conditions dirty street corner doing things that they would be doing if they were a child living in those conditions.
2nd idea:
Like an ambient idea. You thought about it in situ anywhere where there is children working if you give them tools for working instead of toys. Would you want your five/six year olds to be working instead of playing with things children their age would play. Got children playing with their DS while other children are taking apart apple products in china.
-Similar to previous campaign
-Lewisham toy library you be able to see children in action and talk to them, the idea of the toy push it further.
-Make people think a little bit.
Cartoons:
LooneyTunes(Daffy Duck, Bugs Bunny, Porky Pig,Tweety Bird and Sylvester), The flintstones/The Jetsons,Woody Wood Pecker, Scooby Doo, Tom and Jerry, SpongeBob SquarePants,Pink Panther,Winnie the Pooh,Mickey Mouse, Winnie the Pooh, The Yogi Bear Show,Rugrats, Popeye, Garfield, The Peanuts, Casper, Smurfs, Pokemon, Digimon, Dragon Ball, Powerpuff girls, TMNT,Kim Possible,Recess, X-Men, Samurai Jack, Transformers, Jackie chan adventures.
Responses:
Yes to some extent as I used to see myself in them (connect with them as a child). It is another world that is different to the real word that as a child I used to witness.
No
They remind me of being a child
They are associated with memories of spending time with family and friends
Yes, they in a way are like a time capsule. For example the style of drawing them was of that era, and now everything seems to be 3D
I feel like some cartoons are benefitial for youngsters as it teaches them a lot, things like sharing, saying thank you etc.
No. Just nice memories
Yessss, wish I could still watch them now & be a kid again :(
Really enjoy it! It helped me grow and person! is was a huge chunk of my life.
I love them because it's an iconic part of my childhood
they are important because they become reference scenes which get used in conversations between friends who have watched them
Very important
Responses:
Yes I do, but I dont get time to watch any.
Yes
I still enjoy watching cartoons. I watch them when a new episode is out or re-watch old ones when it's been a while.
Yes, I still watch them. Fortnightly or monthly
No
Very rarely, different ones now like simpsons or family guy.
Very rare
Yes, & barely ever :(
Not that much. Grew out of animated stuff. Although I was in turkey the last week! And why had "The World of Gumball" which is actually enjoyed. But now that I am back and can choose what I wanted to watch! I prefer my American shows
Pretty often, mostly on the weekend though
Yes, not very often, mostly when I go to my aunts house because she has kids who watch it a lot
Yes, weekly
Yes I do, but I dont get time to watch any.
Yes
I still enjoy watching cartoons. I watch them when a new episode is out or re-watch old ones when it's been a while.
Yes, I still watch them. Fortnightly or monthly
No
Very rarely, different ones now like simpsons or family guy.
Very rare
Yes, & barely ever :(
Not that much. Grew out of animated stuff. Although I was in turkey the last week! And why had "The World of Gumball" which is actually enjoyed. But now that I am back and can choose what I wanted to watch! I prefer my American shows
Pretty often, mostly on the weekend though
Yes, not very often, mostly when I go to my aunts house because she has kids who watch it a lot
Yes, weekly
Children Working For Reference
Child LAbour with a focus on NAtive Indian children in brazil
- Article title: Alms offered by umuaramenses keeps native Indians in a dangerus situation
The chief of special protection, Débora Baggio informed the tribe chief of the risks and situation his people were under when spending the day amongst cars and night in the bus station without a proper accommodation. He in formed her that the people were permitted to leave the tribe for 15 days and go to the city in order to sell their craft. "It's their culture, but here they are at risk due to the dangers of not having a place to stay, and being between vehicles”-Debora.
An interviewee claimed that "The native indians ended up staying in the city, since they received money, toys, clothes and food” from the locals, this caused them to exceed their 15 day time period, since it offered them more comfort.
They authorities ask that people don't give them anything since the tribes receive support from the National foundation of the indigenous (Funai) "If the person wants help, then buy the crafts. When we give alms we allow them to stay in inappropriate places at the mercy of various dangers"
http://www.ilustrado.com.br/2011/ExibeNoticia.aspx?Not=Esmola%20ofertada%20por%20umuaramenses%20mantém%20%C3%ADndios%20em%20situação%20de%20perigo%20&NotID=63192
- Article title: An event about indigenous people discusses craft trade in Maringa
Members from different institutions and entities were present., in order to establish partnerships and come up with special policies and responsibilities. Counsel representatives from the Promotion of Maringá's Racial Equality will also participate.
http://www.hnews.com.br/noticia/Dw4NDAsKCQgHBgUEAwIBANvHqbh2HY-p1eBjMJxqGYs,/evento_sobre_indigenas_discute_comercio_de_artesanatos_em_maringa.html
- Article title: The situation of the Native Indians who are in Maringa streets worries residents
Women and children stay on road crossings to sell artistries such as baskets.
They come from different tribes and claim that they are on the street to sell their craft but most of the time the children are found asking for money from drivers, instead of selling baskets.
The majority of drivers disagree with them staying until late night on the street and wish there was a better more dignified way of the native indians getting an income, especially for the children’s sake.
The secretariat recommends people not to give them money and says that they are unable to remove the children from the street, the main being that they are not unsupervised they don’t have a ‘broken link’(?) since their mother is with them most of the time.
The Maringa association formed a shelter for them but can allow accommodate one tribe, it currently has more than 60 members. The native indian work on their craft sell then return to their tribe.
http://g1.globo.com/pr/parana/videos/v/a-situacao-dos-indios-que-ficam-nas-ruas-de-maringa-preocupa-moradores/3504845/
Article by Assis Oliveira:
Assiss was invited by the indigenous association Maringa (ASSINDI)to help “put out the fire” stir generated by the local state apparatus at the constant presence of Kaingang children and their families on the streets.
During a discussion with public agents, ASSINDI members, Kaingang(tribe) children and chiefs. The topic of child labor of an exploratory nature was brought up "Selling crafts in the street is to put the child at risk," said some, "begging is to put the child at risk” said other while the caciques(chiefs) listened.
When one finally spoke he said "Our children do not beg, they only charge you a bit of the wealth that you gained from exploring our lands so much”. By “our land” he is referring to the place the non-indigenous people call their city Maringa. Some city residents are able to feel a sense of ownership (therefore uncomfortable with the indigenous presence in the street) because a long time ago, other non-indigenous exterminated and expelled the Kaingang people who lived there to exploit its natural resources.
Another chief added that "Our children sell handicrafts to learn in practice and to know more of your language and your cleverness” learning through practise is form of educating through work in indigenous culture. It’s their form of making their children understand the importance and function of knowledge.The "freedom to practice" Kaingang children have for selling crafts in the Maringa streets, is seen as a family negligence by non-native Indians, but in the eyes of the Kaingang, its a way of protecting their future and being aware of the need to learn in the present the knowledge and skills of manufacturing and craft sale. All of the indigenous people present pointed out that the real threat is not the children helping to sell craft, it is in the fact that many of them have to spend the night in abandoned houses or under bridges, since the municipality did not have a temporary reception policy of Kaingang families and their children.
Studies show that native indian children are on the top of the social indicators in relation to the conditions of vulnerability and rights violations. In terms of not having access to school, a birth registration, high rate of malnutrition and child mortality rate, and marginalisation and social exclusion.
http://www.diplomatique.org.br/acervo.php?id=3176
Assiss was invited by the indigenous association Maringa (ASSINDI)to help “put out the fire” stir generated by the local state apparatus at the constant presence of Kaingang children and their families on the streets.
During a discussion with public agents, ASSINDI members, Kaingang(tribe) children and chiefs. The topic of child labor of an exploratory nature was brought up "Selling crafts in the street is to put the child at risk," said some, "begging is to put the child at risk” said other while the caciques(chiefs) listened.
When one finally spoke he said "Our children do not beg, they only charge you a bit of the wealth that you gained from exploring our lands so much”. By “our land” he is referring to the place the non-indigenous people call their city Maringa. Some city residents are able to feel a sense of ownership (therefore uncomfortable with the indigenous presence in the street) because a long time ago, other non-indigenous exterminated and expelled the Kaingang people who lived there to exploit its natural resources.
Another chief added that "Our children sell handicrafts to learn in practice and to know more of your language and your cleverness” learning through practise is form of educating through work in indigenous culture. It’s their form of making their children understand the importance and function of knowledge.The "freedom to practice" Kaingang children have for selling crafts in the Maringa streets, is seen as a family negligence by non-native Indians, but in the eyes of the Kaingang, its a way of protecting their future and being aware of the need to learn in the present the knowledge and skills of manufacturing and craft sale. All of the indigenous people present pointed out that the real threat is not the children helping to sell craft, it is in the fact that many of them have to spend the night in abandoned houses or under bridges, since the municipality did not have a temporary reception policy of Kaingang families and their children.
Studies show that native indian children are on the top of the social indicators in relation to the conditions of vulnerability and rights violations. In terms of not having access to school, a birth registration, high rate of malnutrition and child mortality rate, and marginalisation and social exclusion.
http://www.diplomatique.org.br/acervo.php?id=3176
ogilvy and mather research
"We sell or else" At Ogilvy & Mather , we never forget David Ogilvy's passionate belief that our job is to sell our client's brand…It makes us accountable for delivering business results. It demands that we understand the consumer in all his or her behaviours…With the evidence to back it up, we have achieved success for our clients by putting sales first.
http://www.ipa.co.uk/Agencies/Ogilvy-Advertising-Ltd
In 1950s The agency(Ogilvy, Benson & Mather), mainly through Ogilvy's creative direction, built a reputation for "quality" advertising, which was defined by its use of well-researched "long copy", large photographs, and clean layouts and typography. Ogilvy believed advertising's purpose was to sell through information and persuasion, as opposed to entertain.
Ogilvy produced one of the agency's most iconic ads for car manufacturer Rolls-Royce in 1960 with the headline "At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock.”
1960 the agency nearly doubled in size and brought on John "Jock" Elliott as an executive after winning the Shell Oil account.The agency agreed to work for Shell on a fee basis, rather than the traditional commission model, and became one of the first major advertising agencies to use the system.
1992, Charlotte Beers replaced Graham Phillips as chairman and CEO of Ogilvy & Mather Worldwide. She recruited from agency Tatham, Laird & Kudner…She was also the first woman to lead a major international agency. Beers introduced the concept of "brand stewardship" to the agency, a philosophy of brand-building over time
1996 Lazarus, a 23-year veteran of the agency, was appointed CEO in 1and became chairman the next year.It was the first time a woman succeeded another woman at a major agency… Lazarus further developed Beer's brand stewardship approach by introducing "360 degree branding", the idea of communicating a brand message at every touchpoint the brand has with people.
Lazarus remained chairman until 2012, when Young succeeded her.Under Young's leadership, the agency focused on a "Twin Peaks" strategy of producing advertisements that are equally creative and effective. New business was also Young's priority. The agency secured new global accounts with companies including UPS, Philips, S.C. Johnson, and IHG.
https://en.wikipedia.org/wiki/Ogilvy_%26_Mather
http://www.wpp.com/wpp/companies/ogilvy-mather-worldwide/
https://ogilvy.co.uk
http://www.ipa.co.uk/Agencies/Ogilvy-Advertising-Ltd
In 1950s The agency(Ogilvy, Benson & Mather), mainly through Ogilvy's creative direction, built a reputation for "quality" advertising, which was defined by its use of well-researched "long copy", large photographs, and clean layouts and typography. Ogilvy believed advertising's purpose was to sell through information and persuasion, as opposed to entertain.
Ogilvy produced one of the agency's most iconic ads for car manufacturer Rolls-Royce in 1960 with the headline "At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock.”
1960 the agency nearly doubled in size and brought on John "Jock" Elliott as an executive after winning the Shell Oil account.The agency agreed to work for Shell on a fee basis, rather than the traditional commission model, and became one of the first major advertising agencies to use the system.
1992, Charlotte Beers replaced Graham Phillips as chairman and CEO of Ogilvy & Mather Worldwide. She recruited from agency Tatham, Laird & Kudner…She was also the first woman to lead a major international agency. Beers introduced the concept of "brand stewardship" to the agency, a philosophy of brand-building over time
1996 Lazarus, a 23-year veteran of the agency, was appointed CEO in 1and became chairman the next year.It was the first time a woman succeeded another woman at a major agency… Lazarus further developed Beer's brand stewardship approach by introducing "360 degree branding", the idea of communicating a brand message at every touchpoint the brand has with people.
Lazarus remained chairman until 2012, when Young succeeded her.Under Young's leadership, the agency focused on a "Twin Peaks" strategy of producing advertisements that are equally creative and effective. New business was also Young's priority. The agency secured new global accounts with companies including UPS, Philips, S.C. Johnson, and IHG.
https://en.wikipedia.org/wiki/Ogilvy_%26_Mather
http://www.wpp.com/wpp/companies/ogilvy-mather-worldwide/
https://ogilvy.co.uk
Brief Notes
In class notes
-WPP big global brand/ look at their subsidiaries ogome and naver
-Need to have a strong campaign with copy and digital.
-Tagline is the starting point.
-Key things from the background:
“downfall”Amnesty feels a bit too cozy and not dramatic enough.
it feels out-dated and out of touch.
Targeting empathy.
don’t see human rights as very relevant to their lives
How to treat geographical boundaries.
How to get a level of empathy ignore the geography boundaries.
take the people to the problem or take the problem to the people one of both but not both.
it is patronising to assume that whats true here is true in china and that you understand the pain the same way as other people, this is not the something as empathy.
Taking Injustice Personally: This is a proposition but they don’t want you to just use this. You need to come up with your own strategic insight. Deconstruct this philosophy and linguistically. Try to find out what was there before they surprised
Challenge:
-They want you to have its not about people or contributions they want more involvement from a specific target audience.
Audience:
-People are too busy with their own life to do anything about it.
-People who have heard of it, but not necessarily encouraged to join them.
-Imagine a person who you are talking to, how old, do they go to college, have a job, the kind of friends they have so you ask with this person be motivated by this, like it, understand it etc.
-Narrow down you cant tackle all the problems in the world.
-Look at their campaigns: Why were they successful and assess what makes it successful not just they won an award but did it reach people or cause change.
-What impacts people ask them what they think about what amnesty’s work. if they are moved by it.
-Before talking to people you need to know what to talk about.
-Their work have become heavily symbolic and ends up being designers talking to other designers instead of talking in the language that people understand.
- First research our client. Look at their work and the work of their competitors.
- Look at the existing examples of exceptional work already dealing with this theme/category.
- Some of their recent campaigns are weak and full under cliches.
- They like visually led tend to assume that messages can be understood globally which is a problem.
- Surprising about the lack of rights in certain places.
- D&AD guidelines.
- Target audience.
- Study optional material.
- Go to D&AD website to find logo guidelines and stuff to make sure.
- Final tutorial 25th Feb
-WPP big global brand/ look at their subsidiaries ogome and naver
-Need to have a strong campaign with copy and digital.
-Tagline is the starting point.
-Key things from the background:
“downfall”Amnesty feels a bit too cozy and not dramatic enough.
it feels out-dated and out of touch.
Targeting empathy.
don’t see human rights as very relevant to their lives
How to treat geographical boundaries.
How to get a level of empathy ignore the geography boundaries.
take the people to the problem or take the problem to the people one of both but not both.
it is patronising to assume that whats true here is true in china and that you understand the pain the same way as other people, this is not the something as empathy.
Taking Injustice Personally: This is a proposition but they don’t want you to just use this. You need to come up with your own strategic insight. Deconstruct this philosophy and linguistically. Try to find out what was there before they surprised
Challenge:
-They want you to have its not about people or contributions they want more involvement from a specific target audience.
Audience:
-People are too busy with their own life to do anything about it.
-People who have heard of it, but not necessarily encouraged to join them.
-Imagine a person who you are talking to, how old, do they go to college, have a job, the kind of friends they have so you ask with this person be motivated by this, like it, understand it etc.
-Narrow down you cant tackle all the problems in the world.
-Look at their campaigns: Why were they successful and assess what makes it successful not just they won an award but did it reach people or cause change.
-What impacts people ask them what they think about what amnesty’s work. if they are moved by it.
-Before talking to people you need to know what to talk about.
-Their work have become heavily symbolic and ends up being designers talking to other designers instead of talking in the language that people understand.