Live Project - Internship at Bloomberg

1Live Projects - Internship at Bloomberg1

LIVE PROJECTS// INTERNSHIP ATBLOOMBERG


CONTENTS

INTRODUCTIONMAJOR PROJECT//BLOOMBERG BUSINESSWEEK ADMAJOR PROJECT//THE NEW YORK BOTANICAL GARDENMINOR PROJECT//SPONSOR ADSMAJOR PROJECT//SALES AWARDSMINOR PROJECT//SINGAPORE ART MUSEUMODD JOBS

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The projects shown here were not carried out in this order.


duRING the winter term, I had the op-portunity of undertaking an eight and a half week intern-ship at Bloomberg London. In my time there, I worked in CUBED, the internal design agency, in the Marketing Department of the company.

CUBED, which has teams based in New York, London and Tokyo, is responsible for producing any graphic design needed for the company’s internal and external market-ing use. The team produces everything from posters, print, digital and TV ads, and invitations to events and much more. In my time there, I worked mainly with the print based designers, and in other digital media proj-ects, had the help of the digital based designers.

Working in CUBED is very interesting as it is completely global. A project may be started by someone in Tokyo and later passed on to someone in London to develop, and then to New York to finish. The different teams have ongoing discussions about projects via email, chat, phone and sometimes live conference calls.

In my time there, I worked on several projects, big and small, from events, to ads, to photography. This is the report on my internship there.

Bloomberg is a financial data and information company based in New York, London and Tokyo with bureaus in more than 70 countries around the globe. They provide their services to thousands of bankers and companies who rely on them for vital, up-to-date informa-tion about the financial mar-ket through various medias namely TV, internet, print, and the Bloomberg Terminal.

INTROduCTION

4Live Projects - Internship at Bloomberg

MAJOR PROJECT//BLOOMBERGBuSINESSWEEK Ad

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5Live Projects - Internship at Bloomberg5Ad done for US market.

THE BRIEf given was to produce a few mock layouts for an ad for the Europe and Asia Bloomberg BusinessWeek magazine. A separate ad cam-paign had already been produced and launched in US and a similarly styled campaigned was requested to be produced to cater to the European and Asian market.

Kirsten, my manager and our creative director did not like the existing style of the ad and asked me try to come up with something different and new that would convey the message better.

MAJOR PROJECTS//BLOOMBERG BuSINESSWEEK Ad


AfTER a very brief brainstorming session with Kirsten, she suggested using the word MORE as the focus of the ad, as that was the campaign’s main mes-sage; that Bloomberg BusinessWeek has more reporters, more insight and more access and therefore is the best.

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1 I tried illustrating the idea of MORE reporters by using cut out people and repetition.2, 3 & 4 Here I cut out the word MORE out of red cardboard and made many of them to create 3D typography. I did this to show repetition, and the idea of MORE. I then took photos of them in several relevant backgrounds; newpapers, and a reporters at their desks.



ON THIS PAGE Here I took photos of the cut out word MORE on white backgrounds and with the cut out people. The aim was to produce a simple and yet powerful background in which the text for the ad would lie, and the word MORE would still stand out.



ON THIS PAGE Here are the final ads ap-proved by my manager and that were sent to New York for proposal. To be honest, I have no idea who I was doing this for and who they were going to be proposed to. I don’t know yet if it was chosen or used.



MAJOR PROJECT//THE NEW YORKBOTANICALGARdEN

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ON THIS PAGE This is the ad that was done in the previous year, 2009.

THE BRIEf that I was given for this project was simple; produce a sponsor ad to be used in a Town & Country magazine in the US. The copy to be on the ad is a standard copy that is always used every year. And so, it was quite a simple straightforward brief.

The only direction given to me on the brief was the ads produced for the past two years for reference. Kirsten as-signed me on to this project and mentioned that I should explore and try to produce something different.

MAJOR PROJECTS//THE NEW YORK BOTANICAL GARdEN


1 The original photo of the composition2 The background

THIS was my first attempt at doing something different from what was done in the previous year and the year before that as I person-ally thought that they were quite boring and bad. For this try, I tried using watercolour as it was a media that I realised hasn’t been used often in the agency’s designs. I wanted to illustrate vibrance and excitement by using bright colours and by having a lot of movement in the painting.

Also, I used the word PROUD to be be the centerpiece of the ad because its a good focuspoint of the layout. I cut the word PROUD out and took a photograph of it on the background instead of designing it later digitally because it creates a nice tactile feel to the ad.

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fIRST fEW mocks produced to show to Kirsten. She wasn’t really convinced and felt that the watercolour and painting illustration conveyed more of an ‘art’ message, rather than a support towards a botanical garden. Despite that, these were sent to the Bloomberg office in New York, to the Philanthropy Department.

The feedback we got from them was very vague and that they they wanted the ad to be image-based instead.



HERE is the second attempt at this ad. This was done with the help of Michaela, a senior designer there. Her advice was just to do something simple and quick instead, and not to spend too much time on this, and that it wasn’t a big deal. And so, we decided to produce a simple image and text composition using one of her own photos.

What I noticed about big corporations was the trouble it took to get simple things done. There was a lot of bu-reaucracy and everything has to be done legally and that can sometimes slow things down. Take this project for example. I wanted to produce a few simple image and text compositions as well, and I had requested them for some original photos, but they didn’t come back to me, so I had to go ahead with another idea, and in this case, we had to use Michaela’s own photo.

The feedback we recieved about this was that they didn’t like it. Again, they were quite vague, and couldn’t explain what it is exactly that they wanted.



ANd SO, with Michaela’s help, we tried something completely different, since we didn’t have any idea what they wanted. We decided to produce a collage of images of flowers found on the internet.

We wanted to show vibrancy and life in the variety of flow-ers and their colours and we also wanted to incorporate that in the copy.



On this page are the several mocks that we produced. Some more simple than the others. We wanted this one to be very colourful as well, and somehow conveyeing a fun and colourful message of the botanical garden.

We made sure that the flowers that we chose to use were the flowers that they had in the garden. These three compositions were then sent over to New York again for approval.



THE fEEdBACK we received from New York was again, a negative one, and again, not stating what it is they didn’t like or what they did like about it. By this time, Kirsten was getting quite frustrated with the amount of time and effort they were wasting. For me, it was a little frustrating as well, to be stuck on the same brief for such a long time, but I didn’t really mind it too much, as I was gaining experience and building my portfolio.

After a quick rant about the incompetence of whoever it is that is managing this project in New York, Kirsten gave me some direction as to what to do, and with the help of another designer there, Magali, and after a few trials and errors, this was the outcome.

We combined many typefaces to form the message of the ad, the message of richness of variety and colour mak-ing up The New York Botanical Garden. Also, they were bold colours that stood out, to emphasize the fact that Bloomberg is PROUD to be supporting the garden.

I personally thought that this ad was great as it really represented Bloomberg as a company and because the message is quite effectively conveyed, while avoiding the more common ‘type-on-image’ type of ad.



uNSuRPRISINGLY, the feedback recieved from New York was again negative. But this time, Kirsten had a word with them and came back with some direction. They wanted the ads to look really similar to the ones done for the previous years; upclose image of a flower, and the word PROUD quite large over it. Fortunately, by now, they had managed to get access to a few flower photos from The New York Botanical Garden, and I finally had something to work with.

And so, these were the few compositions done and sent to them for the proposal.



JuST WHEN we thought it was almost over, they came back with some very ironic feed-back. Basically, they wanted us to make it exactly like last year’s ad but with a different image.

All that time and effort wasted when they could have just said that from the start. It would have just been the case of opening the InDesign file and replacing the old image for the new one. But i’m not really complaining, its great for my experience and portfolio.


ON THIS PAGE Because this was an actual ad for a magazine, we were given the exact print specs to follow, even down to step-by-step instructions on how to save the project, and a checklist of items that the printers require of us to make the ad possible.



MINOR PROJECT//SPONSOR AdS

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fOR THIS PROJECT, I was helping out my colleague, Magali.She was asked to produce a series of sponsor ads. Every year, the Philan-thropy department produces these ads basically to adver-tise that Bloomberg, as a company is proud to invest and support five areas that are important to them; education, the freedom of the press, parks, cities, and the arts. And so, this year, Magali was requested to produce the ads and I was helping her out in coming up with one idea.

Over the years, the Philanthropy department has shown to be in favour of very simple typographic ads that really

weren’t at all conceptual but were simply nice to look at pieces of graphic design.

The rule was simple, they all had to have the word PROUD as one of the biggest on the page. And so, I tried my hand at designing a typeface that is nice to look at and then arranged the text on the page to make it look good. It was as simple as that, because they really weren’t looking for anything conceptual, and by now, I realised that they really didn’t know what they wanted to begin with.

The five areas that Bloomberg supports or invests in have their designated colours, and so it was just a matter of keeping to those colours.

ON THIS PAGE The initial ads produced for Education, Freedom of the Press and Parks.

MINOR PROJECTS//SPONSOR AdS


ON THIS PAGE The initial ads produced for The Arts and Cities.

AT THIS POINT, I had very quickly done the ads for all the five areas and I began play-ing with idea of having a simple background illustrated pattern, something that would give the ad some slight depth visually and conceptually.

So, as seen on the following pages, I designed simple icons that represented each individual areas, then I repeated them in the background so that they would blend in but still be there to give the ad more meaning.


23Live Projects - Internship at Bloomberg23 MINOR PROJECTS//SPONSOR AdS

24Live Projects - Internship at Bloomberg24 MINOR PROJECTS//SPONSOR AdS


THE whole process of this job from start to finish was probably a mere two or three days as we were really close to the deadline when I was requested to do it.

When showed these final designs to Kirsten, she didn’t like it as she mentioned that she has something personal against ‘modern-looking typefaces’. She commented that we could go somewhere with the background, but she was not feeling the typography.

But then again, it is quite confusing because eventhough she’s the creative director of the team, many times, what she doesn’t like turns out to be what the client loves and vice versa.

Eventually, Magali got an extension on the deadline, but and Kirsten asked her to only continue with one of her ini-tial ideas and so, I was taken off the job, much to my relief.



HERE are screenshots of the process of de-signing the typeface in Illustrator. The typeface a modified version of Gill Sans Ultra Bold as there were many things I didn’t like with that typeface. On the right is the process of designing the icons that made up the background. They may not have been used here, but I’m sure they would definitely be useful to me sometime in the future.



MAJOR PROJECT//SALES AWARdS

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fOR this project, I was working with Kelly, the Events Organizer for Bloomberg, and we were working on the company’s annual Core Terminal Awards, or also known as the Sales Awards. In London, its an event with around 300 employees, and is something like the Oscars or the MTV Awards but except, it is a standing reception, and the award giving only takes about half and hour.

The project started for me with Kelly asking me to design some t-shirts for the event. Although the event already had a vague style, I wasn’t aware of it at that time, and Kelly wanted the shirts to be in a different style altogether; she wanted the shirts to look like football jerseys.

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1 The front and back of the t-shirts de-signed. This was done so that the printers knew where the designs would go on the shirts, and designs would go on which colour.2 The team ’logos’ for the four teams. There are four departments within Sales, and these were their department heads. I had to create these illustrations from tiny 80 x 120 pixel photos, and it proved to be quite a challenge.3 This was a document created for the printers, detailing the dimensions.

MAJOR PROJECTS//SALES AWARdS


The shirts were then worn on the day by the waiting staff.



NExT, I was asked to produce an e-vite which is simply an flash animation invitation to the event. I was given the logo that had been designed by another colleague in Tokyo, who had also come up with a short ani-mation that was to be the style of the event. And so, I had to design the e-vites in that style.

The e-vites would then be sent through the Bloomberg Terminal to every employee in the Sales department.

To have an idea of what evites looked like, I was shown an example of one that was done for the previous years. Most of the projects on this internship were done this way, in reference to what was done in the years before.

1 How the evite looks like on the Bloomberg Terminal2 The logo of the event3 The e-vite I designed

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1 > 2 > 3 > 4 The order of the e-vite animation



I WAS also asked to design a simple PDF document that had the information of the event, and a map with direc-tions to the event. This was also sent out to the Sales depart-ment employees.


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I was also asked to design anima-tions for each of the ten awards that were to be given out at the event. The animations were to be played on the big screen as the host is introducing the award.and its nominees.

The animations had to be produced in AfterEffects as there were a lot more complex and couldn’t be achieved in Flash. Having no prior experience or knowledge in using AfterEffects, I quickly looked at some online tu-torials and with some help from my colleague Dave, I managed to pull the job off.



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1 > 2 > 3 > 4 > 5 > 6 The order of the title animation. The animation begins with the logo of the event, and it moves to the name of the award being given.



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1 > 2 > 3 > 4 > 5 > 6 The order of the ‘And The Winner Is’ animation. This animation is a looping one that is played as the host announces those words, and then an-nounces the winner.



THEN, I was asked to create simple enve-lopes that contained the award winners names to be used on the day.



LASTLY, for this event in London, I was requested by Kelly to put together a simple design guideline that was given to the events company so that they would have a reference to the style of the event from which they would know which colours to use in their decorations, and what coloured lights would light up the pillars in the venue.

Also, the design guideline was so that the other Core Terminal Awards in the different countries like Japan, New York and Dubai would be done exactly the same or at least similar.



I WAS ASKEd to attend the event and it was a good feeling to see the things I’ve designed being used and up on the big screen. Also, Kelly asked me to be the photographer that night, to take some photos during the event of the hosts, and presentation, and award winners.


39Live Projects - Internship at Bloomberg39A few of the photos taken during the event.


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LATER, I was given the job to create simi-lar designs and animations for Dubai and New York too.

For Dubai, it was a much smaller scaled event, and they were called Dubai Office Awards instead. And so, I was requested to produce a similar e-vite for their event, and an animation of the event logo to be played on loop during the event.

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1 E-vite designed for Dubai’s event2 Event title animation



fOR NEW YORK’s event, I was working with Georgette and in general, it turned out to be quite hard, not only because of the time difference, but also because she was relatively new at doing events, and it was her first time organizing an award in New York. And so, she didn’t really know what was needed and what she wanted, and that made designing for her quite hard as I found I was constantly lacking direction. Also, I found myself having to call her in New York to clarify many things and explaining how it was done in London, and to get a better idea of what she was doing and what she wanted done over there.

The job started with a request for two e-vites. These e-vites were more complex as they had buttons and links, and so I had the help of Dave to do them. Also, it took a while for Georgette to decide what information to go on them, and because I had to convince her that an e-vite could not contain too much information as it woulc start to clutter up the page.

These jobs for New York came in my final couple of weeks at the internship and I knew I didn’t have the time to see the project through to the end. And so, I did as much as I could, and I prepared detailed instructions on how to con-tinue my jobs, and pick up right where I left it.



CORETERMINALAWARDS2010

SALESBert GilbertJason HahnSandra LeeMatt McCarvillDiana Zweidinger

APPSPEC MVP

John BridgeConstantine CosereanuKarsten GaebeleHelena Ruiter

ROOKIE OF THE YEARCharles DeLucaLayton HillMarshall KinzerAmy SheuChristie Tintle

APPSPEC PRESENTEROF THE YEAR

Steve CasalinoTom DesoyeBob HuberRakesh Parameshwar

UNSUNG HEROFernanda AguiarMersada BogdanovicJinny GoelMark MaestranziKhaoula Najah

UNSUNG HERO

Eric JimenezPeter MaloneySteve Mendolia

SALE OF THE YEARJacy He - Lehman BrothersAndrew Collins - Teddy Platt - Harold Anderson - OCCMarvin Fuentes - AUCSJohn Hastings - Cramer RosenthalPedro Quintanilla - Maxim Group

PRODUCT MVP

Liz GoldenbergMichael LynchSingenellore RajanEugene SorensonSuzanne Szur

ADSK MVP

Erin BroganWill DavisMike LandauAlex MykytaThiago Takahashi

MOST EXCITINGENHANCEMENT

Robert Owsley - FXFMAndre Prris - BMAPJennifer Phillippe - FASonali Theisen - GCDS

CUSTOMER SERVICEAWARD

Ubaldo CabreraDom DangeloPoonam LakhaniJose PaulaDeb Zwi

ROOKIE OF THE YEAR

Ryan DaceyCarlos Da SilvaEvan NewmanJennifer Phillippe

TRAINER OF THE YEAR

Alex ColeTraver DavisKyle DedonisioSeth GreenPoonam Lakhani

SALES

APPLICATION SPECIALISTS

ADSK

PRODUCT

HAVE YOU BEENNOMINATED YET?

WEDNESDAY, APRIL 21ST, 2010

6:00 - 10.30PM

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Bloomberg

NokiaTheatre

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1 Nominee Sheet2 PDF with information of the event and a map with directions from Bloomberg’s office on Lexington Avenue to the Nokia Theatre.

These are the PDFs that pop up when the buttons of the e-vite are clicked.


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ON THIS PAGE The first eight of the six-teen award title animations produced.


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ON THIS PAGE The other eight of the six-teen award title animations produced.



MINOR PROJECT:SINGAPOREART MuSEuM

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THIS was a simple job to produce an e-card with a given message about Bloomberg and its relationship with the Singapore Art Museum.

An e-card is a very basic flash anima-tion that works like an e-vite, but is has to have a very small filesize. To give an idea, The e-vite created for the Core Terminal Awards was around 1,000 KB in size. An e-card is limited to around 25 KB. it proved to be a challenge to try to make it look inter-esting and nice while having a very tight filesize limit which meant that no jpeg images could be used, and everything had to be vectors.

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1 > 2 > 3 > 4 > 5 > 6 The order of the e-card animation.

MINOR PROJECTS//SINGAPORE ART MuSEuM


Odd JOBS

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IN THE duRATION of my internship there, I was also asked to do many odd jobs, such as printing designs off and making them into simple standing posters, or printing off presentation notes, and like on this page and the next, taking photographs of the latest campaign banners that have just gone up.

Odd JOBS//PHOTOGRAPHY

49Live Projects - Internship at Bloomberg49 Odd JOBS//PHOTOGRAPHY


HERE I was asked to select the best photos of the televi-sion anchors, and editing them in Photoshop, preparing them to be ready-to-use.

I stayed away from the anchors’ faces and body as they were mainly good to begin with, but also because I did not want to be responsible if any of them complained about how they looked. The only editing I did was to clean up the background.

Photo on the Left is Before, and on the Right, After.

Odd JOBS//PHOTO EdITING

51Live Projects - Internship at Bloomberg51LEfT Before, RIGHT After








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Live Project - Internship at Bloomberg