How the internet is changing advertising

(via penn-olson.com)

Novo (velho) modelo de negócio

Quando Barack Obama assumir a Casa Branca, no próximo ano, Reuters e Politico terão 120 jornalistas cobrindo Washington. Em troca, o site especializadao em política americana irá oferecer notícias da agência a 60 jornais e 40 canais parceiros. Pelo contrato, as duas empresas compartilharão receita publicitária, e qualquer outra companhia de mídia poderá se unir à rede de notícias se permitir que o Politico venda publicidade em seu site.

meu comentário: A proposta de vender anúncios em outras mídias partiu da Google em 2006. Naquele ano, a empresa de Larry Page e Sergey Brin começou a vendê-los em 50 jornais americanos, como New York Times e Washington Post. A idéia desse tipo de parceria dá lugar a novas possibilidades de negócios na rede, o que representa um avanço do ponto de vista dos grandes conglomerados de mídia.

A pensar,

LM

O lugar dos anúncios

Como se sabe, os projetos gráficos de jornais impressos prevêem espaços para anúncios, e também não é novidade que, em muitos casos, os textos perdem lugar para anunciantes. No jornalismo digital, muitos formatos têm sido testados e, ao contrário das páginas analógicas, na rede o usuário pode recusar alguns deles, como é o caso dos pop-ups. Hoje há dezenas de formatos, e o grande nó é descobrir qual é a melhor disposição nas páginas.

Pesquisas como a Eye Track, do Poynter, apontam caminhos a partir do olhar do usuário, do que o atrai na página. Os anúncios integram o pacote de modelos de negócios do ciberespaço e, por essa razão, os projetos têm de contemplar espaços para que as páginas não fiquem carregadas de banners e se misturem ao conteúdo, critica artigo da Smashing Magazine.

"While advertisements are hardly the primary concern of web designers in general, not accounting for them will result in a very awkward layout that can either detract from the flow of the website or put the ads in a spot where they will not receive enough attention from visitors. In order to maximize ad revenue for the client, with minimal interference in the appearance and usability of the website, the designer must take advertising needs into consideration throughout the design process."

meu comentário: a esse raciocínio deve-se incluir a desconstrução do formato atual das páginas - pautadas pela simulação do papel, diagramação em colunas e hierarquia -, e a reconfiguração do design proposto atualmente.

A pensar,

LM

Google generation 2

Para não esquecer como pensar um projeto tambén para a web. Esse, coordenado por Mario García é para o jornal La Tribuna. (a versão impressa).

LM

Por Mario García

Serious does not mean boring

I remember my first meeting with La Tribune’s director, Valerie Decamp: it was a lunch at a plush, but quite busy, Paris restaurant. The tall and talkative Valerie, whose newspaper trajectory had brought her to La Tribune from the free newspaper, Metro, knew exactly what she wanted, and how she wanted.

“I want you to make La Tribune very lively, colorful, full of energy, and full of news, analysis, and topics that the readers have not seen elsewhere, that is what I want,” Valerie told me two minutes after we met.

Knowing what the management wants is, indeed, the first step in what you know will be a successful project: a manager who is focused, knows direction, target audiences, and has no preconceived ideas that a “financial daily” has to be boring.

Valerie talks fast, and she wanted the project to move fast.

Fast it was. We began around May, launch of the new-formula La Tribune is Monday, Oct. 27.

Enter the new art director: Eric Beziat
One of Valerie’s most effective moves was to hire Eric Beziat as art director. Together, Eric and I met frequently, both in person and in cyberspace, to create the look that you see here.
Every successful design needs an editor who contributes ideas, and who is sure of what he wants: we found this in La Tribune’s new editor, Erik Izraelewicz.

Google generation

Por Mario García

La Tribune launches today: a new formula, Berliner format for the Google generation

Larger format: At a time when so many newspapers go smaller, La Tribune’s strategy was to go to the Berliner format, from a standard tabloid. I am an advocate of compact, of course, but in this case, the idea is to allow for each of the sections to stand out. “We want to make a dramatic change that is visible to our audience,” Valerie told me as we discussed the larger format.

New branding: Gone is the old La Tribune logo, in the Bordeaux color with white letters. In is a logo with a blue background, but “attached” visually to a navigator to the best “surprise” stories of the day.

New typography: The type combination now involves Verlag in its various weights, but with an emphasis on boldness rarely seen in traditional finance/economics dailies. Chronicle, an elegant serif font, is used as a secondary font, to bring elegance and contrast to each page.

Color palette: We tested orange before we went for blue, but it was decided that it would be good to have blue as the daily color, and orange for Le Journal de Weekend.

Efficient navigation: Perhaps the most reader-friendly element of this rethinking of La Tribune is the Page One navigator, called L’Essentiel, and that is what it is. Borrowed from the highly successful and efficient What’s News from The Wall Street Journal, it summarizes in a few lines, the top stories that are MUST READ for each day.

Advertising innovation: The new La Tribune will experiment with ad positioning. Already many of these ads have been sold ahead of time, including “silent ad” on Page One navigator, plus interesting display of various strategies as shown here.


LM