Dar a conocer el significado de los principales elementos del lenguaje corporal que ayude a adquirir ciertas habilidades para interpretar  mejor la intención de los interlocutores.

La trascendencia de la comunicación no verbal (CNV) viene dada por la importancia del mensaje recordado donde la CNV supone el 55% del recuerdo (según la Regla de Mehrabian), siendo interpretado por los receptores como más fiable que el mensaje que llega por la vía verbal.

La docencia del Taller se organiza en torno a los siguientes apartados:
• Características generales de la comunicación y el lenguaje de los signos.
• Contextualización de la disciplina y sus principales exponentes.
• Análisis inicial. Sus componentes básicos.
• Principales actitudes corporales. Interpretación de las posturas.
• Análisis de la gestualidad corporal: las expresiones faciales; compostura de brazos y piernas .
• Otros elementos no verbales: el tacto; la emotividad.
• La microgestualidad. Ejemplos.
• Cómo detectar el fingimiento y la mentira.
• Casos prácticos.

El taller pretende ser eminentemente práctico. Se plantean tres tipos de actividades:
• Se demandará al alumno la búsqueda de ejemplos prácticos en los informativos de televisión de las gestualidades explicadas.
• Se pedirá un trabajo personal donde el alumno deberá realizar un trabajo de análisis sobre una entrevista de corta duración realizada a una persona privada (un familiar, amigo, etc.)
• Se crearán varios grupos de trabajo. Cada uno de ellos deberá analizar la gestualidad de un personaje público.

• Knapp, Mark L. (1995). La comunicación no verbal: El cuerpo y el entorno. Ediciones Paidós Ibérica.
• Ekman, Paul (1985). Telling Lies. Clues to deceit in the marketplace, politics and marriage. WW-Norton &Co.
• http://www.kaaj.com/psych/articles/NonverbalCommunication.pdf
• http://www.dailymotion.com/video/xb983e_expresiones-faciales-universales-pa_school
• Diferentes videos de “Secretos del mensaje gestual” en YouTube

Cuestionarios tipo test sobre las explicaciones de clase.

Estudio de un discurso/entrevista concreta.

Sesión de trabajo que consistirá en analizar la gestualidad de un personaje público.

- Subject 1. –  Graphic Design as an essential tool: good and bad graphics used in campaigns (a campaign with a good graphic design can be a failure and vice versa). Graphic Design principles and elements that must be considered. Photographic campaigns vs. typographical campaigns.

- Subject 2. – Copywriting techniques; the message, tone of voice, point of view etc.

- Subject 3. – Contextual analysis –with visual examples– of an Ad campaign from the beginning; from Briefing to execution.

- Subject 4. – Creative techniques and different media (TV, Radio, Newspapers, Internet, viral, etc.). What makes an idea a good idea? Ideas that stick in the collective mind; SUCCESs fundamentals. Good ideas poorly executed versus bad ideas well executed.

- Subject 5. – Self-promotion: if your job is to promote big brands, why don’t you use these powers with yourself? Creating a good and bad portfolio. Producing a good folio to land a good job!

- Discussion: At the end of every lecture –theoretical contextualisation–, the subject will be discussed with the students for a few minutes.

This workshop has an eminently practical character.
Go to “EVALUATION” to fill in the detail of each one of the Educational Activity.

Arden, Paul. It’s not how good you are, it’s how good you want to be. London: Phaidon, 2002
Bergman, Margo. Street smart advertising: how to win the battle of the buzz. Plymouth: Rowman & Littlefield Publishers, INC., 2007
Bond, Johnathan, Kirshenbaum, Richard. Under the Radar: Talking to Today's Cynical Consumer. New York: Hoboken, New Jersey: John Wiley & Sons, Inc., 1998
Haig, Matt. Brand Failures: The Truth About the 100 Biggest Branding Mistakes of All Time. London: Kogan Page Ltd., 2003
Heath, Chip and Dan. Made to stick. London: Arrow Books, 2008
Heath, Chip and Dan. Switch: How to change things when change is hard. London: Random House Business Books, 2011
Iezzi, Teresa. The idea writers. New York: Palgrave Macmillian, 2010
Ogilvy, David. Ogilvy on Avdertising. New York: Vintage Books, 1985
Ogilvy, David. Confessions of an advertising man. London: Southbank Publishing, 2004
Roberts, Kevin. Lovemarks: the future beyond brands. New York: powerHouse Books, 2004
Solomon, Robert. The art of client service. New York: Kaplan Publishing, 2008
Zyman, Sergio. The end of advertising as we know it. Hoboken, New Jersey: John Wiley & Sons, Inc., 2002

Webs, blogs and editorials:
Adweek
Advertising Age
Ad Critic
AdForum
Creative Review
CMYK
HOW
Print
Comunication Arts
Campaign
Luerzers Archive
Bancomicsans.co.uk
Ihaveanidea.org
Creativity-online.com
cstadvertising.com
ffffound.com

• The evaluation must be considered as Continuous Evaluation and must be solved during the academic period.
  Marks will be quantitative between 0 and 10.
  The mark should be presented with one decimal.

Students need to attend to 80% of the sessions

The students will produce a learning portfolio of 6 Ad campaigns: 3 successful ones and 3 failures, i.e. campaigns that have increased or decreased the sales or awareness of the products or services promoted. Later on the class will choose a failed campaign unanimously.

The students will need to rethink and redo the chosen Campaign of Activity 1. But with one premise: correct the maximum with the minimum. Using the minimum amount of resources, students will need to redesign the Campaign to achieve considerable and positive results.

The class will divide in groups in which the students will do some role-play. One by one, each member of the group will represent the agency presenting his/her newly redone Campaign, while the rest of the group play the client’s role. Whether they like it or not, they will need to have a say.

The students will produce a learning portfolio with self-promotional examples. It will contain 6 examples of young creative’s portfolios; 3 which the student believes that are impressive and 3 not so impressive. Later on he/she will find out how it was presented to the creative directors at the agencies.