[dropcap2]W[/dropcap2] ithin the creative process, we start with an idea. This idea is born through questions of what, who, why, and how? From a meeting hall filled with a company’s best minds, to dialog between friends in a local coffee shop; these questions never change. What, who, why, and how? Depending on our role, we may find ourself asking one question more often than the other. This can and usually is indicative of ones specialization. From a communications background, one will commonly ask who in an effort to understand what. Once the who has been determined, the what and why start to become clear. As an individual standing from the perspective of a visual communication designer, we deal with how? How do we take  what is needed, who needs it, and why it’s needed and translate it for the who to easily understand. If they understand through the how, we have arrived at a successful solution.

How do we showcase Fender’s amplifier legacy while informing our target demographic of the range of product. Where do we connect the sound that our demographics all know and love–with the products that can take them there? We do that by showing what “that Fender sound is.” This is the birthplace of the This is the sound campaign.

The sketch below reveals an environment in which the product creates a larger-than-life landscape utilizing every single amplifier product we offer.




Collaborating with our photographer Eric Fairchild, we began to shoot every single amplifier with the intent of stitching them together, keeping proportions, lighting, colors, and details accurate.



Carefully editing each image, we compile every single photo into one piece. Mindfully keeping the shadows and colors of each amp as accurate as possible, many of which had to be added in artificially.


After compilation, I begin to craft the scene by developing floor textures, background colors, shades and lighting.


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[hr] [dropcap3]2[/dropcap3] Phase two of the campaign attaches familiar names and sounds with the products that made them.


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