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).
(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.
(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.

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