The purpose is to research and apply common industry rationale and techniques utilized in the process of creating an advertisement campaign with the medium of cg.

The methodologies include the application of storytelling elements for commercials driven by story, identifying a combination of archetypes which your product and brand will embody and the story will be centred around, considering the personality of the audience beyond demographics; taking into account layout and lighting for cinematic storytelling, as well as animation principles, music and sound effects.

The criteria for judging the effectiveness of advert artistic creation involving character animation, described by employers in advertising industry are: how close does the character animation resemble human movement - should be at least close to classic cartoons, how realistically the character eases in and overextends in the final pose, and natural expressiveness of the character's face. 

For B2C advertising campaigns (business to consumer), according to studies, the audience retention of factual data covered in ads is significantly lower (12%) while adverts revolving around stories have high potential in becoming memorable as viewers are compelled by narratives and emotional experiences (70%).

The human like animation in a sense, aids the storytelling, as it connects to emotional response and relating in the viewer. Efforts to study acting and build on a library of materials from movies and comic books should be made to plan, thumbnail and block out scenes before attempting to animate.

Considerations are taken for the planning of the face expressions and their timing. Blinks are used to express the transitions between feelings, ideas and thought processes most fitting the emotional context; lack of blinking suggests terror, fear, several blinks shyness, anxiety. The viewer first notices the eyes, overall face, then the body poses and movement. However, poor body animation cancels facial expression.

Adverts driven by stories, similarly to historical literature, share basic elements and  character roles which universally can be reduced to 7 types of narratives, 8 structures and 12 archetypes.

In Campbell's seminal work, 'The Hero with a thousand faces', he explains how world's stories figures have a  universal hero with whom everyman can identify with.

The 12 Archetypes are common mythological figures found in every story, as well as every person's nature. By translating them into brand images, products are attributed desirable values and strenghts. When users buy and consume products, a ' transfarence of power and appeal from the product to the consumer' occurs. Therefore the products can grant the fantasy of quality and durability (status) of the ultimate  strenght, or the attractiveness and power of the anti hero.

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 Mythic Profile: The Ultimate Strenght
When an obstacle is there it must be overcome. The conquest must be completed. Sometimes forced to face another figure of ultimate strenght.
Mighty in general. Has a source of power. Must suffer and struggle to prove endurance.
Ex: Achilles and Hector in the Iliad, 12 Labours of Hercules, 
George Mallory's spirit 

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In Marketing and Advertising: highlight strenght by testing to convince customers of quality and durability of the product. Done most notably through product torture tests and performance messages.

The product is put through test against elements of  or perhaps the competition itself. Timex ' takes a licking keeps on ticking'. The product  passed its Herculean test, thus can withstand the minor challenges of daily life.
 Product performance under extreme pressure.

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 Timex, Tag Heuer. Utilizing obstacles to convince. Pinnacles, mountains.
 Symbols of unique strenght and brands: 
 Dynamic mythic figures have unique sources of strenght and attendant symbols. Specific objects help  outwardly display  power. Look at emperors, queens, superheroes . The missing symbol   is the cause of a fatal temporary weakness. Samson's hair, Popeye and spinach.
 Rolex.

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 The Siren
The trait  or power of attraction linked with the possibility of destruction.
It involves a degree of risk. The siren's ability to seduce is dominating.
Temptress destroyer icon.

In advertising and marketing:
 Used  most effectively for inducing the desire to be more attractive . In fashion, cosmetics and perfume campaigns Symbols: the siren's attendant symbolism can be linked directly to the commercial product. Hair as a symbol of sexuality.
 Women want to emulate the siren.
 Music, rhythm, language  can serve as potent triggers of the siren archetype nature.
 Sun, fire, gold.

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 The Hero
Similar to the Ultimate Strenght, heroes go through a process of struggles and challenges, but their victories and fortitude do not stem from physical strenght, but morals, ideals, bravery and perseverance.  He often sacrifices by giving or doing good deeds to others on his journey. He might be pressed to give up on their beliefs to save his skin but he creates new reserves of strenght to get through the fall lbacks.  The journey is an internal transformation. Multiples trials are faced by the hero.
Even someone from the downside of advantage can make it big. The hero is meek, humble and thankful.

Joseph Campbell in his work explains that the story of the hero is universal, of everyman. We can all relate to overcoming challenges. It has broad appeal.
 Heroes can be underdogs at the beginning who are transformed  by triumph in heroes.
 In advertising and marketing:
 The hero as an endorser:

Using a sports celebrity as a reliable figure, which reinforces trust. People buy the product because they want to emulate the hero, because it feeds into their heroic fantasies.

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 The Anti Hero

The universal message of destruction and the attraction of evil. The story of Jekyll and Hyde, duality of human nature.  Gives voice to everyone's capacity and sometimes desire to do harm. The anti hero is locked in battle with the good, and is the counterbalance of good. Pitted against the ultimate strenght or hero. Consistently, it's either the equivalent or even the superior in strenght to the hero. Evil is frequently  in a position of  temporary control and seems likely to emerge as victor. In most mythologies, evil loses in the end, as in the heat of struggle a fatal flow of them is revealed: the lack of faith and repentance.

 The fundamental flaw of evil is lack of empathy or mercy in others. Has no compassion and cannot be trusted.
 In some cases is demented, devious and deadly.

Has appeal, can be attractive.
 The archetype defiance and lack of repentance are very effective to commercial motivating. Especially for teen audiences. Can be a key ingredient in stories as rooting against the bad guy can be as strong of an appeal as rooting for the good guy.

Some anti heroes can share some of the strenghts and skills of the hero - one of them being intelligence, the evil genius. Taps into the audience's morbid fascination with destruction and death.

In advertising and marketing:
 The brand Harley-davidson creates a strong affinity amongst its users  as it tapped into the desire to express an alternative side to their personality, which is both liberating and enjoyable.
 The dark side also has sex appeal, the anti hero is  a frequent  fixture in the fashion industry. The transference of power from the advertised object to the viewer is critical. The underlying archetype communicates that these models have the power and appeal of the anti hero.

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 The Creator

 Linked with the divine power of creation. Tge figure  is held in high regard and produce creations to be admired. It relates to innovation, invention, both artistic and technical. 

In advertising and marketing:
   -the potency of new product: 
 For freshly launched products, this archetype gives them a surviving chance by reinforcing the quality of novelty as an improvement of the past technologies. The new product sells by stating it has an enhanced formula, or performance hence it is better. The power of persuasive language can convey that effectively.
 Substantiating promises.

The message of originality: products don't stay new. But the creator's message of originality  is ongoing. The first brand in a category. Kleenex, coca cola. Means more then being the first, confers authenticity and  superiority. Users, by consuming original products they show appreciation for authenticity.

The message so invention:
 The humanisation of mechanical products attributed with superiority. Hewlett-Packard's 'Invent' campaign "your eyes never took a bad picture" for the Ross camera. The principles of transfarence of attributes from product to user . Page 130.
 Figures in pop culture often appeal through their eccentricity and quirks which stems from their creative genius.
 Individuality. Creators amuse and fascinate the public, and the public is fascinated by them. The prince.

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 The Change Maker
The most in vogue of the archetype. Universal message of transformation, self improvement, mastery. For businesses reinventing themselves. Similar yet different from the creator, has the ability to  control the uncontrollable. 
Taps onto the desire of people to have the power of rapid transformation, change. Viagra, nascar team for campaign and brand building. Evian water - the craze of body building, workout and aerobic.

The rebirth of existing products through relaunch. When old products lose their appeal  they are given a new image to evolve and stay contemporary. Uses substantiated claims of innovation.

For better predictibility, companies turn to science and engineering to support their change rationale, as commonly people put faith into science.
 Example is audi's advancement through technology campaign".

 https://www.campaignlive.co.uk/article/genius-gluten-free-animals-adam-eve-ddb/1347588 

You are expected to deliver a presentation (normally using Powerpoint or some equivalent), showing the state of progress of your project. It should contain a project overview, a literature review (with references), a

summary of work done so far, and a plan of further work.

Your overview should give:

• an outline of the general problem area and your particular motivation for doing the project

• the specific aims and objectives for your project

• the detailed steps you intend to take to answer the research questions

• success criteria and the limitations of your project.

Your literature review should:

• include both literature relevant to the problem domain and literature relevant to the solution domain.

• critically analyse, compare and contrast between sources, and discuss the relevance of the sources to your particular project.

• Provide your arguments supported by a logical chain of thought; you should ensure that your sources are themselves reliable.

• include a substantial proportion of up-to-date peer-reviewed publications, such as might be found in academic journals, conference proceedings, and dissertations. Books; magazines; web articles, and other more informal sources may also be used with due caution. You must indicate the references for your sources.

The work done should:

• briefly present whatever analysis, software, experiment, diagrams, etc. you have developed or designed so far.

• critically discuss the work itself

• explain how you intend to improve or advance it.

Finally, your plan of action should:

• show how you intend to use your remaining project time. This could be in the form of a GANTT chart, showing what tasks remain to be done, how you will divide up your time, and what deadlines you have set yourself