Feedback Group members Time available Categories Select ideas1-8 people5-15 min Generate ideas1-30 people2-60 min Exercises, Generate ideas1-4 people5-20 min Generate ideas1-4 people10-30 min Generate ideas2-6 people20-60 min Exercises, Generate ideas, Group dynamics30-45 min Exercises, Generate ideas, Structure projects2-6 people20-120 min Exercises, Generate ideas4-40 people15-60 min Generate ideas, Select ideas1-10 people10-30 min Exercises, Generate ideas2-1000 people Exercises, Group dynamics4-40 people10-60 min Exercises, Group dynamics4-40 people10-90 min Exercises, Group dynamics3-10 people30-90 min Group dynamics2-12 people20-60 min Generate ideas, Structure projects1-12 people15-45 min Generate ideas, Group dynamics1-20 people1-500 min Exercises, Generate ideas1-6 people10-30 min Exercises, Generate ideas2-15 people5-25 min Generate ideas1-15 people10-30 min
• CREATIVITAT II
10 Free Tools to Create InfographicsInfographics are fun, creative, data-visualization tools that can help businesses express facts and statistics about their products, markets, and services. They can spread quickly if well done — shared across social media networks at a tremendous rate. Infographics can help with branding, among other benefits. Here are ten tools — all free as of this writing — to assist you in getting complex sales and marketing ideas in a visually appealing form. Easel.ly Easel.ly Currently in Beta, Easel.ly provides an intuitive interface to design and create infographics. Infogr.am If you have trouble making spreadsheet data turn into visually appealing graphs and charts, this may be the tool for you. Hohli Hohli If you simply need to present data in attractive charts, perhaps for inclusion in an infographic, Hohli provides bar, Pie, Line, and Venn diagram templates for you to work your data into. D3 is more of a desktop tool, and primarily aimed at developers. MediaLoot Free Vector Infographic Kit Data360
The pitfalls of sponsored content, in 5 chartsOne of the true bright spots for publishers could wind up further eroding the value of their most precious asset. With display advertising in a free fall — and what little of value there is being sucked up by Google and Facebook –publishers are increasingly turning to native advertising and sponsored content to earn meaningful revenue. The New York Times, for example, now earns nearly 20 percent of its digital revenue from its T Brand Studios. The only problem is that sponsored content, despite being decades old as an concept, remains confusing to readers. They sometimes struggle to identify it, have mixed emotions about its being in the same place as regular editorial content, and often feel like publishers must be held to higher standards. Advertisement Here are five charts that illustrate the increased risks sponsored content poses to publishers, and what they’re doing about it. Keep it separate? Related
My dreams lista startup idea shared by Stefan Kucej on 05/27/2012 Social mobile network about your dreams. What do you want to do in your life, where do you plan to go, your secret ideas. dreams, friends, life, mobile, people, secret, togetherTOOLSGuardian LabsOn 11 October 1970, the Observer published an article headlined Insurance – With Interest. It was paid for by an insurance company and was clearly labelled “Advertisement Feature”. This is the earliest first piece of paid-for content in the Guardian or Observer we could find. Advertorials are clearly nothing new, but interest in their offspring – native advertising, branded content and sponsored content – has dramatically increased in popularity over the past few years, as this graph from Google Trends reveals: This has no doubt been driven by advertisers seeking new ways to engage their target audience in an era when traditional ads are often ignored or even removed from sight – Apple’s latest i0S 9 release will make it even easier for its army of users to block ads. A recent survey commissioned by open-journalism forum the News Hub revealed that consumers expect online news to be free, with “96% agreeing there should be no charges to access news websites”.
Gravy - fun things to do nearby - what's going on tonight and this weekendBOOKSBold Words & Pooping Unicorns: How Brands Are Creating Muted Video AdsWhen Facebook first tested muted, autoplay video in late 2013 it could not have expected how quickly and drastically it would change both how audiences watch video on the internet and subsequently, publisher and advertiser video strategies. Fast-forward to 2016 and the trend among either new or successfully modernized brands is moving quickly toward videos that fit how almost all consumers prefer to watch video now: on mute. Here are 10 best-in-class examples from the past year from forward-thinking modernized brands, new brands and product launches, which created or adapted their videos for muted autoplay across platforms like Facebook, Instagram and Sharethrough. More and more, established brands are realizing the need to modernize their ad strategies by moving away from disruption in favor of creating content, especially videos, that earn (rather than force) audience attention. Truth is constantly adapting their marketing strategies to the media behaviors and slang of 15-25 year olds.
Nudge - Activities & Events - Discover Things to Do Nearby - City Guide on the App StoreПариэль-Принт. Рекламно-производственная компания полного цикла "Париэль Принт".La retícula tipográfica según Karl Gerstner - el blog de diceEn 1962, el suizo Karl Gerstner recibió el encargo de diseñar la revista Capital, una publicación trimestral sobre economía llamada así por la obra de Karl Marx. En 1964, Gerstner explicó en su libro, Diseñar programas, que la retícula para la revista (Figura 1) era un ejemplo de la «retícula móvil» que había desarrollado junto con sus socios, Markus Kutter y Paul Gredinger, en su agencia de diseño GGK. Figura 1. Hay que recordar que en los años sesenta los diseñadores suizos, entre ellos Josef Müller-Brockmann, habían popularizado el uso de retículas tipográficas para el diseño de publicaciones. Para el caso de la revista Capital, Gerstner quería una retícula que permitiera «la máxima conformidad a una regla con un gran número posible de variaciones». Figura 2. La base para la retícula tipográfica de Gerstner es un cuadrado de 58 × 58 unidades (el cuadrado no incluye los márgenes ni la cabecera de la página).