Fady El-Masry portfolio 2012

The Digital media Ads Strategies
2012 Fady El-Masry profolio

3
Welcome to
The Digital media

5
Chapter - Name
Standard Banner
Interactive media
SponsorShip & Takeover
Digital printing
NO*
O1*
O2*
O3*
O4 *
Page No.
4
28
58
86
27
57
85
107
Digital media Ads Strategies

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Standard Banner - O1 *
Ad placement
Web banner info 9

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Animated Banners Animated Banners
Brand : The noudel ouse Ad placement Brand : Mobinil
Ad placement
Ad Format : Showcase
Interactive Features : Animated
Country : KSA
Country : Egypt
Published : 2010
Published : 2011

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Brand : Destinia Ad placement Brand : AXE
Ad placement
Country : UAE
Country : Egypt
Published : 2010
Published : 2010

15
Brand : Toyota Ad placement Brand : Mercedes
Ad placement
Ad Format : Skyscraper
Country : MENA
Country : Egypt
Published : 2011
Published : 2011

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Brand : Samsung Corby Ad placement Brand : Samsung D980
Ad placement
Interactive Features : 3D
Interactive Features : Animated & 3D
Country : Egypt
Country : Egypt
Published : 2010
Published : 2011

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Brand : Aishti Ad placement Brand : Fortress
Ad placement
Country : Lebnon
Country : Egypt
Published : 2010
Published : 2010

21
Brand : Better home Ad placement Brand : Palm Hills
Ad placement
Country : Egypt
Country : MENA
Published : 2010
Published : 2010

23
Brand : Cadory Ad placement Brand : UFE
Ad placement
Country : Egypt
Country : MENA
Published : 2011
Published : 2010

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Brand : Tradeline Ad placement Brand : Masrawy
Ad placement
Country : Egypt
Country : Egypt
Published : 2009
Published : 2010

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Brand : Best Buy Ad placement Brand : Final Cut & Best Bye
Ad placement
Country : Egypr
Country : MENA
Published : 2010
Published : 2009

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Animated Banners
Brand : Toyota
Ad Format : Over the page
Country : KSA & UAE
Published : 2010 Advantages of standard banner ad sizes are:
Banners fit with other banners on various sites with
standard banner ad sizes.
No computer graphic design work is needed to resize
standard banners.
The disadvantage of standard banner ad size is that banner
ad blocking software, which is becoming more widely
used, blocks banners by recognizing standard banner ad
sizes. Hence the proliferation of non-standard banner ad
sizes. Non-standard banner ad sizes are fine if the banners
are only displayed on your own website.
Animated Banners
Ad placement

O2
2012 Fady El-Masry profolio 31

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Interactive media - O2 *
Ad Format
Rich Media info
Certified
Rich Media
contentR
ich Media
Rich
Media

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The Digital media
The Banners
Ad placement
Brand : Cadillac
Interactive Features : Expand It Full Screen & 3D
Country : UAE
Published : 2011

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The Digital media
The Banners
Ad placement
Brand : Volkswagen
Interactive Features : Expand It Full Screen, 3D & 3 channels
Country : MENA
Published : 2011

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The Digital media
The Banners
Ad placement
Brand : Chevrolet
Country : UAE
Published : 2011

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The Digital media
The Banners
Ad placement
Brand : Chevrolet
Ad Format : A ssociated banner
Interactive Features : Connected animated
Country : MENA
Published : 2009

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The Digital media
The Banners
Ad placement
Brand : Chanel Rouge Coco
Interactive Features : Connected animated & Expand It Full Screen.
Country : MENA
Published : 2010

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The Digital media
The Banners
Ad placement
Brand : Chanel N o 5
Interactive Features : Connected animated , 3D & Expand It Full Screen.
Country : MENA
Published : 2010

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The Digital media
The Banners
Ad placement
Brand : Chanel Chanel Chance
Interactive Features : Connected animated , 3D & Expand It Full Screen.
Country : MENA
Published : 2010

49
The Digital media
The Banners
Ad placement
Brand : MBC2
Interactive Features : Expand It Full Screen
Country : KSA
Published : 2011

51
The Digital media
The Banners
Ad placement
Brand : Nestle Mega Ice Cream
Interactive Features : Connected animated
Country : Egypt
Published : 2008

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The Digital media
The Banners
Ad placement
Brand : Fad Adv
Ad Format : FB Game
Interactive Features : Connected animated Aps FB
Country : Global
Published : 2011

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The Digital media
The Banners
Ad placement
Brand : AXE
Ad Format : FB Game
Country : Egypt
Published : 2010

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The Digital media
The Banners
Ad placement
Brand : Domino’s pizza
Ad Format : FB Intro Aps
Country : Egypt
Published : 2009

59
The Digital media
The Banners
Ad placement
Brand : Samsung
Country : Algerie
Published : 2011

O3

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SponsorShip & Takeover - O3 *
The new media Ads Strategies

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Animated Banners
Ad placement
Brand : Volkswagen
Ad Format : Takeovers
Country : UAE
Published : 2011

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Animated Banners
Ad placement
Brand : Nokia
Country : MENA
Published : 2010

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Animated Banners
Ad placement
Brand : Dubai tv
Country : MENA
Published : 2010

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Animated Banners
Ad placement
Brand : Sprite
Country : MENA
Published : 2010

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Animated Banners
Ad placement

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Animated Banners
Ad placement
Brand : Ford
Country : UAE
Published : 2010

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Animated Banners
Ad placement
Brand : Dream tv
Country : MENA
Published : 2010

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Animated Banners
Ad placement
Brand : Janaklees
Country : Egypt
Published : 2011

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Animated Banners
Ad placement
Brand : B.Tech
Country : Egypt
Published : 2011

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Animated Banners
Ad placement
Brand : Schweppes
Ad Format : Fb Takeovers
Country : Egypt
Published : 2011

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Animated Banners
Ad placement
Brand : Ajlan & Bro
Ad Format : Fb Takeovers
Country : KSA
Published : 2011

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Animated Banners
Ad placement
Brand : St.Fatima
Ad Format : In-House Takeovers
Country : Egypt
Published : 2011

O4

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Digital printing - O4 *
Digital printing
refers to methods
of printing from a
digital based image
directly to a variety
of media.
It usually refers
to professional
printing where
small run jobs from
desktop publishing
and other digital
sources are printed
using large format
and/or high volume
laser or inkjet
printers.
Digital printing has a higher cost per page than
more traditional offset printing methods but
this price is usually offset by the cost saving
in avoiding all the technical steps in between
needed to make printing plates. It also allows
for on demand printing, short turn around,
and even a modification of the image (variable
data) with each impression.The savings in labor
and ever increasing capability of digital presses
means digital printing is reaching a point
where it will match or supersede offset printing
technology’s ability to produce larger print
runs at a low price.
Process
The main difference between digital printing
and traditional methods such as lithography,
flexography, gravure, or letterpress is
that no printing plates are used,
resulting in a quicker and less
expensive turn around time.
The most popular methods include inkjet or
laser printers that deposit pigment or toner
onto a wide variety of substrates including
paper, photo paper, canvas, glass, metal,
marble and other substances.
Consumer and professional printers such as
inkjet or laser printers use the most common
examples of digital printing. Professional
companies now use those practices to go
green by using better quality ink and better
laser etching to get a more crisp picture that is
displayed through digital printing.
In many of the processes the ink or toner
does not permeate the substrate, as does
conventional ink, but forms a thin layer on
the surface and may in some systems be
additionally adhered to the substrate by using
a fuser fluid with heat process (toner) or UV
curing process (ink)
Digital printing methods
Fine art digital printing evolved from digital
proofing technology in the printing industry. As
the printing industry became digital, traditional
film-based proofing became cumbersome and
cost prohibitive. Kodak, 3M, and other major
manufacturers stepped up to the plate and
large format inkjet printers were developed
using dye based inks or archival, lightfast
pigment based inks. Initially, these printers
were limited to glossy papers, but the IRIS
Graphics printer allowed the use of a variety
of papers that included traditional and non-traditional
media. Graham Nash, of Crosby,
Stills, Nash and Young, was one of the early
pioneers of experimental digital printmaking,
and he began using the new proofing
technology from IRIS Graphics to print his own
photographs and digitally manipulated images.
Nash and his associate Mac Holbert opened
Nash Editions in 1991 and adapted an IRIS
printer to meet the needs of artists.
Challenges in fine art printmaking include
the need for exceptionally accurate high-resolution
scanning and/or photographing
of original artwork, managing large file sizes,
viewing and interpreting image files onscreen,
and artist-printmaker communication. Key
software and computer providers have been
Adobe Photoshop and Apple Computer,
along with Silicon Graphics, who were on the
forefront of color image management for both
graphic arts and fine art printmaking.
Longevity is always an important consideration
in fine art, whether in reproductions (such
as serigraphs or lithographs) or in an
original work. It is a well-accepted fact that
paintings, especially watercolors, must be
protected from the elements, therefore the
lightfastness of digital inks was a critical issue.
The original proofing inks were not archival,
but printmakers experimented with coatings
and substrates to achieve greater longevity.
A collaborative effort by artists, including the
group known as Unique Editions, worked with
printmakers to produce archival quality on
a variety of substrates. The IRIS printer was
the standard for fine art digital printmaking
for many years, and is still in use today, but
as the field grew, printmakers, and printer
manufacturers began to offer alternative
equipment for printmaking. More powerful
computers, improved software, and viewing
technologies have expanded possibilities for
artists and printmakers.
Substrates in giclée printmaking include
traditional fine art papers such as Rives
BFK, Arches watercolor paper, treated and
untreated canvas, experimental substrates
(such as metal and plastic), and fabric.
who were on the forefront of
color image management for
both graphic arts and fine art
printmaking.

93
This has allowed for the creation of limited
and unlimited reproductions of artworks.
Depending on the printing inks and substrate,
longevity of the digital print may be limited.
Although the color range of the digital process
cannot always match an original pigment,
artists and fine art digital printmakers can
work together for exceptional quality with
repeatability.
Experimental artists often add texture or other
media to the surface of the final prints, or use
them as part of a mixed-media work. Many
terms for the process have been used over the
years, including digigraph, but fine art digital
printmaking is generally known as giclée,
and, although there are still a few exceptions,
giclées are widely accepted as a fine art
medium by museums and galleries. Thousands
of digital printmakers now offer services to
painters, photographers, and digital artists
around the world.
Digital laser exposure onto
traditional photographic paper
Digital images are exposed onto true, light
sensitive photographic paper with lasers and
processed in photographic developers and
fixers. These prints are true photographs and
have continuous tone in the image detail. The
archival quality of the print is as high as the
manufacturer’s rating for any given photo
paper used. In large format prints, the greatest
advantage is that, since no lens is used, there is
no vignetting or detail distortion in the corners
of the image.
Digital printing technology has
grown significantly over the
past few years with substantial
developments in quality and sheet
sizes. The four main digital printing
presses are the Canon imagePRESS,
HP Indigo, Xerox iGen and Kodak
Nexpress all have their points of
differences and advantages.
What are the advantages of
digital printing over traditional
printing methods?
As there are no plates etc the cost of short
runs are greatly reduced. With digital printing
the image is freshly constructed every time it is
printed, this means that every image on a run
can be varied. This could be simply the name
and address for a mailing, of for an advertising
campaign, it could also be the product
featured, allowing for a very well targeted
mailing.
Digital printing also allows for
the output of digital art of all
types as finished pieces or as an
element in a further art piece.

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SponsorShip & Takeover
Brand : Rotaract Club
Ad Format : Brochure
Country : Egypt
Published : 2011
Brand : Oriantory
Ad Format : Rollup
Country : Egypt
Published : 2007

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Brand : Leciel
Ad Format : Rollup & Logo
Country : Egypt
Published : 2011
Brand : Leciel
Ad Format : Rollup & Logo
Country : Egypt
Published : 2011

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Brand : Atks
Ad Format : Rollup
Country : Egypt
Published : 2010

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Brand : Link.net
Ad Format : Rollup
Country : Egypt
Published : 2010

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Brand : Fad
Ad Format : Poster
Country : Egypt
Published : 2010

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Brand : Fad
Ad Format : Poster
Country : Egypt
Published : 2010

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Brand : Fad
Ad Format : MENA -OT
Country : Egypt
Published : 2010

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Brand : Fad
Ad Format : MENA -OT
Country : Egypt
Published : 2010

111
Thank you
The Digital media

Fady El-Masry portfolio 2012

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Fady El-Masry portfolio 2012