“Getting the show on the road” - Ghent...
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GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY “Getting the show on the road” – A case study on the marketing communication during the start-up phase of the non- profit organization ArteFacto. Lien Ver Eecke A DISSERTATION SUBMITTED IN PARTIAL FULFILLEMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER IN MULTILINGUAL BUSINESS COMMUNICATION SUPERVISOR: Dr. Ellen Van Praet ACADEMIC YEAR 2009 – 2010
Transcript of “Getting the show on the road” - Ghent...
GHENT UNIVERSITY
FACULTY OF ARTS AND PHILOSOPHY
“Getting the show on the road” –
A case study on the marketing communication during the start-up phase of the non-
profit organization ArteFacto.
Lien Ver Eecke
A DISSERTATION SUBMITTED IN PARTIAL FULFILLEMENT OF THE
REQUIREMENTS FOR THE DEGREE OF MASTER IN MULTILINGUAL BUSINESS
COMMUNICATION
SUPERVISOR:
Dr. Ellen Van Praet
ACADEMIC YEAR 2009 – 2010
2
Description of the internship
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Abstract
These days, as van der Horst (2002, p. 1) indicates, non-profit organizations are showing more and
more interest in marketing communication, and this for several reasons. This might sound “to fly in
the face of what non-profit organizations purport to stand for. The fact remains, however, that they
face the same need to produce results, even if their ultimate goals are different from those of their
profit-oriented counterparts” (Emerald Group Publishing Limited, 2009, p. 19). In this dissertation, I
will take a look at the marketing communication of a non-profit organization in its start-up phase. This
organization is ArteFacto vzw1, where I did my internship. After a brief introduction, in which I
describe why I chose to do my internship at ArteFacto and how the structure of this dissertation looks
like, I start this paper with a presentation of the company. In this first chapter the brief history of the
company is described, after which the structure of the company is discussed. Next to this, this chapter
describes the corporate identity, the „products‟ of the company and its most important competitors.
The first chapter is concluded by a SWOT-analysis. In the second chapter, I discuss the theoretical
framework of this dissertation, namely the marketing communication of a non-profit organization in
its start-up phase. In this chapter, it becomes clear what marketing communication is, why companies
use it, what the different strategies are and which marketing communication tools companies can
choose from. The third chapter of this dissertation functions as a case study: the different tasks I had to
carry out during my internship are discussed and linked to chapter two. In the fourth and last chapter, I
present my final conclusions. In this chapter, I give an overview of the things I learned and I discuss
the aspects of the MTB-program that I could use to carry out my tasks. Lastly, I point out how my
perception of the MTB-program has changed due to my internship and how, according to me, the
program could be improved, based on the experience I gathered during my internship at ArteFacto.
1 Hereafter ArteFacto.
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Preface
Before I get started with „the real deal‟, I would like to use this space to thank a few people. First of
all, I would like to thank Marleen Coppens, Tessa De Buysere and Koenraad Goris from ArteFacto,
for giving me the opportunity to do my internship at their company. I had a lot of responsibilities and
it really felt as if I was a part of their team. They also gave me a lot of useful tips and feedback on my
tasks, which made this internship a really instructive experience.
Secondly, I would like to thank my parents for giving me the opportunity to start this extra year and
for supporting me all the way through it, especially during the exams. I would also like to thank my
boyfriend, Pierre, for his unconditional support.
And last but not least, I would like to thank Tom Bruyer, our new coordinator, for his advice and for
the way he guided us through the MTB-program from January on. It was without a doubt not easy to
take up the responsibility of coordinating the MTB-program. But he took on the challenge and he did a
great job.
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Description of the internship ................................................................................................................... 2
Abstract ................................................................................................................................................... 3
Preface ..................................................................................................................................................... 4
Introduction ............................................................................................................................................. 8
1 The company: ArteFacto .................................................................................................................... 10
1.1 History of the company ............................................................................................................... 10
1.2 Structure of the company ............................................................................................................ 11
1.3 Corporate identity: vision, mission and strategy ......................................................................... 12
1.4 The „products‟: the services, the artists and their art ................................................................... 13
1.5 The competition ........................................................................................................................... 15
1.5.1 Art galleries .......................................................................................................................... 16
1.5.2 Companies that lend art to private persons and other companies ......................................... 16
1.6 SWOT-analysis ........................................................................................................................... 18 1.6.1 Strengths ............................................................................................................................... 19
1.6.2 Weaknesses .......................................................................................................................... 20
1.6.3 Opportunities ........................................................................................................................ 20
1.6.4 Threats .................................................................................................................................. 21
1.6.5 Conclusion ............................................................................................................................ 21
1.7 Conclusion ................................................................................................................................... 21
2 Theoretical framework: marketing communication of a non-profit organization in its start-up phase
............................................................................................................................................................... 23
2.1 Introduction ................................................................................................................................. 23
2.2 Marketing communication: what? ............................................................................................... 23
2.3 Marketing communication: why? ................................................................................................ 25
2.4 Marketing communication: strategies? ........................................................................................ 26 2.4.1 Marketing communication strategy for a new product or brand .......................................... 26
2.4.2 Marketing communication strategy for a developing product or brand ............................... 27
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2.4.3 Marketing communication strategy for a mature product or brand ...................................... 27
2.4.4 Marketing communication strategy for a product or brand at the end of its „life‟ ............... 27
2.4.5 Marketing communication strategies: conclusion ................................................................ 28
2.5 Marketing communication: tools? ............................................................................................... 28
2.5.1 Advertising ........................................................................................................................... 29
2.5.2 Public relations ..................................................................................................................... 30
2.5.3 Sponsorship .......................................................................................................................... 31
2.5.4 Promotions ............................................................................................................................ 31
2.5.5 Direct marketing ................................................................................................................... 32
2.5.6 In-store communication ........................................................................................................ 33
2.5.7 Personal selling ..................................................................................................................... 33
2.5.8 Fairs and exhibitions............................................................................................................. 34
2.5.9 The product and its design .................................................................................................... 34
2.5.10 Packaging ........................................................................................................................... 35
2.5.11 Corporate design ................................................................................................................. 35
2.5.12 Lobbying ............................................................................................................................ 36
2.5.13 Word-of-mouth ................................................................................................................... 36
2.5.14 Recruitment communication .............................................................................................. 37
2.5.15 Product placement .............................................................................................................. 38
2.5.16 Advertorials ........................................................................................................................ 38
2.5.17 Guerrilla marketing ............................................................................................................ 39
2.5.18 Conclusion .......................................................................................................................... 39
2.6. Marketing communication: conclusion ...................................................................................... 40
3 Case study: my internship at ArteFacto .............................................................................................. 42
3.1 Designing and making a descriptive flyer about the company .................................................... 42
3.2 Direct marketing .......................................................................................................................... 44
3.3 Updating the ArteFacto Facebook page ...................................................................................... 47
3.4 Developing an idea for an event .................................................................................................. 50
3.5 Developing templates .................................................................................................................. 52
3.6 Other tasks ................................................................................................................................... 53
3.6.1 Participating in meetings ...................................................................................................... 53
3.6.2 Writing a manual for the upload of documents via the ArteFacto website .......................... 54
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3.6.3 Writing a marketing communication plan ............................................................................ 54
3.6.4 Other tasks: conclusion......................................................................................................... 55
3.7 Conclusion ................................................................................................................................... 55
4 Conclusions ........................................................................................................................................ 57
5 Bibliography ....................................................................................................................................... 61
5.1 Books ........................................................................................................................................... 61
5.2 Articles ........................................................................................................................................ 61
5.3 Websites ...................................................................................................................................... 62
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Introduction
When Luc De Bie, our former coordinator, sent us an email with the offer for an internship at
ArteFacto2, I was immediately very enthusiastic and excited about it. The question was: “Do you like
art and do you want to help us develop our non-profit organization?”. “Yes!” was my answer. Why did
this particular offer interested me so much? Well, I can say that I am an art lover myself and that I am
surrounded by art lovers as well: I am passionate about photography, my boyfriend is a painter and my
father likes to draw and sculpture. So the opportunity to do something art-related really appealed to
me. Next to this, the fact that ArteFacto is a non-profit organization seemed very interesting to me. I
do not like big companies, whose only goal is to make profit. In addition, it seemed very interesting to
work in a small team that is passionate about what it is doing. I think that is also something I want to
achieve later on in my career: doing something that I am passionate about and never having to wonder:
„why am I doing this?‟. I want to do something that, in any way, makes a difference to people. I think
all of this explains why I chose to do my internship at ArteFacto.
After having read the internship offer, I sent an email3 to Marleen Coppens, explaining why I wanted
to do my internship at ArteFacto. A few days later she and Tessa De Buysere invited me for an
interview. They explained to me what they expected and how everything would be arranged. At the
end of the interview we decided that I would do my internship of five weeks at ArteFacto.
A description of ArteFacto can be found in the first chapter of this dissertation. This chapter starts with
a brief history of the company and its founders. Secondly, an overview of the structure of the company
is given and thirdly, the corporate identity is described. Fourthly, some of the art that ArteFacto offers
is presented, after which the most important competitors of ArteFacto are identified. A SWOT-
analysis concludes this chapter. There is no description of the clients, because there were no clients yet
at the time of my internship.
In the second chapter, the theoretical framework of this dissertation is given. As the most important
tasks I had to carry out during my internship were related to the field of marketing communication, the
subject of this theoretical framework is marketing communication of a non-profit organization in its
start-up phase. First the term „marketing communication‟ is explained, where after its importance for
companies is discussed. Thirdly an overview of the different marketing communication strategies is
given and the most appropriate strategy for a non-profit organization in its start-up phase is identified.
The discussion of the wide range of marketing communication tools, combined with an indication of
2 See annex 1: Internship offer ArteFacto.
3 See annex 2: Application email.
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the tools that are appropriate for a starting non-profit organization – based on the experience I gained
during my internship – concludes this chapter.
The third chapter gives an overview of the most important tasks I carried out during my internship,
linked to the theoretical framework described in chapter two. In this third chapter, the descriptive
company flyer I had to design and make is discussed first. Secondly, the direct marketing activities I
had to carry out are described, after which the updating of the ArteFacto Facebook page is discussed.
Fourthly, the development of an idea for an event is described, followed by a discussion of the
templates I had to create. To conclude this chapter, the „other‟ tasks – those not directly related to the
field of marketing communication, such as the writing of a manual for the upload of documents via the
website – are discussed.
Finally, the fourth and last chapter of this dissertation presents my final conclusions. There, I point out
the things I have learned, both professionally and at the human level. Next to this, a feedback on the
MTB-program is presented in this chapter. In this feedback, I give an overview of the elements of the
MTB-program that I have used to perform well during my internship. But I also describe how my
perception of MTB has changed due to my internship and the shortcomings of MTB, revealed thanks
to the confrontation with „real life‟.
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1 The company: ArteFacto
1.1 History of the company
ArteFacto is a young and dynamic non-profit organization, founded in November 2009 by three
friends – Marleen Coppens, Tessa De Buysere and Koenraad Goris – who share the same passion for
art. The company wants to reach a wide public of art lovers by offering the art of their members to
private persons via its website, and to companies via diverse services. Marleen, Tessa and Koenraad
keep their current jobs as their main occupation, but they founded ArteFacto to give full rein to their
passion and to be able to work together. In November 2009 their new baby was born and in January
2010, the ArteFacto website was ready to use. Since then, ArteFacto is recruiting new artists and is
making the company known to the public and to other companies. Next to this, the company is
currently preparing its first event.
Because ArteFacto is such a young company, the history of the company is inevitably very short. The
careers of the three founders/board members of the company, on the other hand, are everything but
short. That is why I find it interesting to complete the concise history of ArteFacto with the „history‟
of its managers. This way, the background of the company‟s founders, and thus also of the company,
becomes more clear.
Marleen Coppens is 41 years young and she started her university career at the university of Leuven,
where she studied Germanic Philology for four years. After she obtained her master‟s degree in
Germanic Philology, she decided to go to the university of Ghent to obtain a postgraduate in
Multilingual Business Communication. Eight years later, in 2000, she obtained a postgraduate in HR
Management at the Erasmushogeschool in Brussels. Marleen started her professional career in 1991 as
a consultant at VanRam Associates (HR industry), where she worked for five years. From 1996 until
2002 she worked as a consultant at Fiers & De Mey (Staffing and recruiting industry). In 1998,
Marleen decided to found her own headhunting agency: Rara Avis. This is a small search and
selection business, providing “turnkey”, low cost, high quality HR solutions. Rara Avis is an “out of
the box” HR consultancy partner, with small as well as large companies among its clients. Next to
Rara Avis, Marleen is co-founder at ArteFacto since November 2009 and in April 2010 she founded
the company BaaiBaai. The latter organizes journeys for people who like to enjoy the challenge of
travelling “alone together”, appreciating the charm of unique places.
Tessa De Buysere is 38 years young and in 1994 she obtained the degree of Commercial Engineer at
the Solvay Business School in Brussels. Immediately after this, she started her professional career at
Accenture (Management consulting industry), where she worked as a senior consultant for three years,
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until 1997. From 1997 until 2000, she worked as a HR Projects Manager at Global One
(Telecommunications industry) and from 2000 until 2003, she was HR Manager at Mercer (Insurance
industry). Tessa continued her career as HR Manager, but at a different company: from 2003 until
2006 she worked at HRConnect (Management consulting industry). But then, she decided to give a
new direction to her career: in January 2009 she started working as an independent energy adviser at
Eadvies. Next to this, she is co-founder and chairwoman of the Board of Directors at ArteFacto since
November 2009.
Koenraad Goris is 45 years young and has a multitude of university degrees. At the university of
Leuven, he graduated as Master in Psychology and in Sexology. After this, he went to the university of
Zürich and there he obtained a postgraduate in Psychotherapy. At the university of Antwerp, he
obtained a postgraduate in HR-management and Management. After his college days, Koenraad
gathered a great deal of experience in management development, coaching, executive assessment and
recruitment, and selection process management. Koenraad has over 15 years experience in major
account management and has carried out a number of large design and international delivery projects,
for a range of clients across the world. He is also experienced in leadership development programs,
competency framework design and coaching executive managers. Here are some examples of his
clients: Arcadis-Gedas global, European Commission in Brussels and Luxembourg, NATO in
Brussels, Aibel in Norway, European Investment Bank in Luxembourg and ArcelorMittal. Currently,
Koenraad is Country Manager for Cubiks Belgium and Germany (HR consultancy agency) and he is
also responsible for the operations in Poland and Luxembourg. Next to this he is co-founder and board
member at several non-profit organizations in Belgium, such as ISW-Limits, Fabioladorpen and, of
course, ArteFacto.
Reading this, one cannot but agree that the three founders of the company have a lot of experience and
that they have different areas of expertise, which makes them very compatible and from which the
company can only benefit.
1.2 Structure of the company
For now, the only people working for ArteFacto are the three founders/board members, so there is not
really something like a real „structure of the company‟. The only level that can be identified is the
managerial level.
Nonetheless, the three founders take up different responsibilities in order to make ArteFacto an
efficient company. Marleen and Koenraad are responsible for the commercial side of the story and for
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this responsibility, both of them can rely on a large network in the world of human resources. After all,
by being present at, for example, company events, you can reach a lot of people. Tessa is in charge of
the operational management: she is responsible for the development of the website, she takes care of
the communication with the members of ArteFacto, and she approaches artists and companies in order
to persuade them to join forces with ArteFacto.
Because the company does not have an office, the three partners hold a conference call every two
weeks, whereas urgent matters are settled via the telephone. Next to this, a board meeting is held every
month.
1.3 Corporate identity: vision, mission and strategy
Marleen, Tessa and Koenraad noticed that more and more people get fed up with the elitist nature of
the art world, which has as a result that even though these people are very interested in art, they do not
undertake any effort to go and search for artworks on the market. Next to this, they realized that it is
very difficult for a young, beginning or unknown artist to get promoted by art galleries. These
observations led to the foundation of ArteFacto.
Due to the elitist nature of the art world, the existing thresholds and the difficulties for many artists to
get properly promoted by art galleries, the founders of ArteFacto decided to help artists in presenting
their art effectively without compromising their artistic integrity and hereby to promote contemporary,
affordable and quality art to a wide public of art lovers. In other words, ArteFacto‟s goal is to support
artists who wish to sell their art in a more targeted way and to be more than just an „everyday‟ (virtual)
art gallery.
To achieve this goal, ArteFacto offers its services to private art collectors as well as to companies. To
private art collectors ArteFacto presents a diverse range of art via its website. Next to this it presents a
number of innovative services for companies. A first innovative service that ArteFacto offers to
companies is the „Art & Values‟ program, which can help to promote the company values within the
organization. Next to this, ArteFacto offers to companies artist-led teambuilding events, art workshops
for employee family-days, art exhibitions as marketing events and unique and valued gifts to
personnel. ArteFacto also offers art consultancy and advice on how to improve the business
environment through art. The company gives advice to other companies (but also to private collectors)
in acquiring art. ArteFacto also organizes art competitions to promote new products and branding.
During my internship, I had the opportunity to experience how this service operates: the setup of the
„Metro-project‟. This year, the free newspaper Metro celebrates its tenth birthday and ArteFacto seized
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this opportunity to start a cooperation with Metro by organizing an art competition among its
members. The readers of the newspaper will be able to vote for their favourite artwork. The artwork
that receives the most votes will be the winner and one reader can win this artwork.
Another service is the „art-on-demand‟-service, via which original design gifts for valued clients and
business partners can be ordered. Finally, ArteFacto aims to give an artistic touch to all type of events
via previews. The company wants to turn events into unforgettable experiences by giving them an
artistic touch. For example, a simple client reception can be upgraded into an original preview.
Another possibility is the „real-estate-from-the-art‟-formula: a new way to give a housewarming party.
The new homeowners invite their family and friends to show their new home and ArteFacto furnishes
the party in an artistic way.
It becomes clear that via this diverse range of services, ArteFacto wants to support its members by
making them and their art known to a very wide public. The artists and their art are discussed in the
following section.
1.4 The „products‟: the services, the artists and their art
In the case of ArteFacto, the „products‟ are the innovative services that the company offers to other
companies (cf. supra) and the member artists and their art. In order to guarantee quality to the art
buyers and the companies that use ArteFacto‟s services, all the member artists comply with a number
of conditions: each artist has completed a full training at an officially recognized academy of art
and/or has a recognized artistic track record. Furthermore, the criteria of selection that must be met
before a piece of art can be presented on the ArteFacto website are: the artistic quality, the theme and
the value for money.
At the moment, the work of twenty-four artists is presented via the ArteFacto website. These artists –
both emerging and established – come from various countries. Consequently a wide range of cultural
influences is reflected in ArteFacto‟s virtual gallery. Notwithstanding the fact that twenty-four is
already a nice number, ArteFacto is of course always looking to expand its membership figure and is
thus continuously recruiting new artists. An overview of the current member artists, each with one of
their artworks, can be found below.
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Illustration 1: Défense
d‟afficher ~ KiK
Illustration 2: Cows ~
Carola Bremkamp
Illustration 3: Play 2 ~
Elvir Bucali
Illustration 4: St.
Ninian‟s Isle diptych II ~
Lilian Cooper
Illustration 6: Brave New
World ~ Georges De
Buysere
Illustration 7: Night 2 ~
Claude Dendauw-Imbo
Illustration 8: Being me ~
Emma Donaldson
Illustration 5: Study n° 1
~ Matthew Crasner
Illustration 9: Nepali
para el bingo ~ Carmen
Leal
Illustration 10:
MP1100WK ~ Jan
Leenders
Illustration 11: Pain in
the ass ~ Geert Lenssens
Illustration 12: Going
round the Bend ~
Siobhan Leonard
Illustration 13:
Connections 2 ~ Luciana
Mathioudakis
Illustration 14: Parapluie
patriotique ~ Sylvie
Muzard
Illustration 15: Shower ~
Olivier Paul
Illustration 16: Instinct ~
Kaarin Poppe
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When you take a look at these pictures, it immediately shows that ArteFacto offers a very diverse
collection of art: not just one style, one art discipline or one theme is represented and among its
members photographers as well as painters and sculptors can be found. This and the fact that art from
each price range is represented, enables ArteFacto to address a wide public, which is obviously one of
the strengths of the company.
1.5 The competition
Taking a look at the competition, I have to make a distinction between two types of competitors: the
„everyday‟ art galleries and the companies that lend art to private persons and to other companies.
Here, the art galleries will be discussed first, after which the companies that lend art will be dealt with.
It should be noted that I only consider Flemish companies here, as ArteFacto aims to reach the
Flemish market, for now.
Illustration 17: Ebony ~
Helga Renders
Illustration 18: Toscane –
Luc Standaert Illustration 19: Splash ~
Karin Thompson
Illustration 20: Dancing
Hen ~ Helen Tyrrell
Illustration 21: Terzetto
~ Bea Vanistendael
Illustration 22: Scooter ~
Antoon Verbeeck
Illustration 23: Ugly Bros
1 ~ Arnaud Vivane
Illustration 24: Model
sitting ~ Marloes
Wijtsma
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1.5.1 Art galleries
Because it would be impossible to take a look at each and every art gallery in Flanders, this discussion
will be confined to the concept of an art gallery. Nonetheless, a few examples will complete this
concise discussion.
An art gallery is a space where exhibitions of visual art are organized with the intention to sell this art.
The difference with art dealing, which is the similarity with a company like ArteFacto, is that an art
dealer has bought the art that he sells. An art gallery, on the contrary, exhibits art that is still owned by
the artists. Next to this, an art dealer sells art of several artists in one space, whereas an art gallery
usually organizes exhibitions that deal with one theme or one artist. This is obviously a point of
difference between ArteFacto and art galleries.
Art galleries usually ask a commission for the efforts they undertake to introduce the artists and their
art to the public. Mostly this is 30-50% of the selling price. ArteFacto asks a commission of 30% of
the selling price.
Some examples of well-known Belgian art galleries are Galerie De Zwarte Panter, Zeno X Gallery in
Antwerp, Galerie Xavier Hufkens and Galerie Jan Mot in Brussels.
Also virtual art galleries can be categorized here. The main difference with a „normal‟ art gallery is
that a virtual art gallery usually presents the art of several artists and not just of one artist. ArteFacto is
a great example of this principle. Other examples are NetGallery.be and art-gallery.be. This kind of
art gallery uses, like ArteFacto, the Internet to sell art and to promote artists.
It becomes clear that even though there are some points of similarity, there are also important points of
difference between ArteFacto and „everyday‟ (virtual) art galleries. The most important difference,
however, can be found in the innovative services that ArteFacto offers to companies. These are
services that an average (virtual) art gallery does not offer, which allows ArteFacto to clearly
distinguish itself from art galleries. In other words, thanks to these innovative services, ArteFacto can
be more than just an „everyday‟ (virtual) art gallery.
1.5.2 Companies that lend art to private persons and other companies
The most important competitor for ArteFacto that can be identified in this category, is Kunst In Huis.
This organization, founded in 1978, promotes young Flemish artists and tries to make contemporary
art accessible to a wide public. Kunst In Huis does this by lending art to private persons and to
companies as well as by organizing art exhibitions and projects and by participating in artistic events.
The attentive reader will notice that these activities are very similar to those of ArteFacto. A difference
17
with ArteFacto can be found in the fact that the artists receive a financial compensation for the art
Kunst In Huis can dispose of. The public can borrow the art for a reasonable prize and can come in
contact with the artists. Next to this, Kunst In Huis does not want to be “het zoveelste distributiekanaal
voor actuele kunst, maar stelt een unieke ervaring van omgaan met kunst centraal, waarbij niet het
bezitten van het kunstwerk, maar wel de kunstervaring centraal komt te staan” (www.kunstinhuis.be).
Just like ArteFacto, Kunst In Huis offers a very diverse collection of art to its clients. Again not just
one style, one art discipline or one theme is represented and among the members of Kunst In Huis
photographers as well as painters and sculptors can be found. This makes Kunst in Huis of course a
serious competitor for ArteFacto.
As a private person, you can borrow the art like you borrow a book from the library. You become a
member of one of the branch offices and then you can choose from exhibited works, which can be
borrowed for a six-month period. There are two possible types of subscription: one with and one
without the point-saving formula. In case of the latter, you borrow art and at the same time you save
points for a possible purchase of an artwork. The branch offices are located in Antwerp, Dilbeek,
Ghent, Hasselt, Knokke, Leuven, Roeselare, Turnhout and Waregem.
To companies, Kunst In Huis offers the following services: first of all, it gives advice concerning the
right choice of art for the company. Secondly, Kunst In Huis provides background information on the
artists and their art and thirdly, it arranges the transportation and the placing of the art. Fourthly, an
all-risk insurance is included in the borrowing price. Lastly, the organization commits itself to the
regular replacement of the art works.
To students who live in digs, the company offers the service Kunst op Kot. “Omdat Kunst In Huis ook
jongeren de weg naar actuele kunst wil wijzen, werd in 1999 vanuit het Leuvense filiaal gestart met
„Kunst op Kot‟” (www.kunstinhuis.be). Kunst op Kot wants to give students the opportunity to
decorate their digs with art, without having to pay too much money for it. Students do not have to pay
a subscription fee: they only pay the monthly rent. The art can be borrowed for three months, and is
all-risk insured.
The last service that Kunst In Huis offers, is the so called KUNSTKICK. This is an initiative that offers
an educational formula to primary schools since the academic year 2008-2009. “Kinderen tussen 8 en
12 jaar ontdekken onder begeleiding van onze filiaalmedewerkers spelenderwijs onze filialen en het
principe van kunstuitleen” (www.kunstinhuis.be).
After reading this, it becomes clear that Kunst In Huis does not only focus on companies and private
persons, but also on schoolchildren and students. Because of this broader focus, but certainly also
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Strengths
- Different academic and professional background founders
- More than just a virtual art gallery
- Diverse collection and art from each price range
- Focus on quality
- Clear responsibilities
- "Real-estate-from-the-art"
- Passionate about art
Weaknesses
-- Not the main occupation
- Not one 'leader'
- Not an office
Opportunities
- Unique combination virtual art gallery -innovative services for companies
- Buying via the Internet = booming
Threats
- Kunst in Huis as serious competitor
- People could be reluctant to buying art via the Internet
because of its more extensive experience, this organization is a very serious competitor for ArteFacto,
even though the services that both organizations offer are not completely the same. This is why maybe
it is not a bad idea for ArteFacto to also elaborate its focus to other target audiences, when the
organization has become more mature.
1.6 SWOT-analysis
Illustration 25: SWOT-analysis
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1.6.1 Strengths
It goes without saying that the different academic and professional backgrounds of the three founders
of ArteFacto are one of the most important strengths of the company. The fact that all three of them
have a different frame of reference allows each one of them to shed another light on the company, its
tasks and its challenges. This way, the best results can be achieved and the company can develop in
the best possible way.
Next to this, another strength can be found in the fact that the company wants to be more than just a
virtual art gallery, by offering innovative services to companies. This way, ArteFacto can reach a very
wide and diverse public with the art of its member artists, and at the same time gain name
awareness/recognition among this public.
A third important strength is the fact that ArteFacto‟s collection presents not just one style, one art
discipline or one theme and that art from each price range is represented. This ensures that everyone
can find something to his or her liking.
Fourthly, another strength can be found in the fact that quality is an absolute priority for ArteFacto.
Because the company sets such high quality standards, clients can be sure that they get value for their
money. This is essential to establish a good reputation. After all, satisfied customers usually provide
good, and especially free, word-of-mouth advertisement.
A next important strength is the fact that all three founders have clear responsibilities, so that
efficiency is guaranteed, which is very important in this start-up phase as the financial possibilities are
still limited.
A sixth strength can be found in the “real-estate-from-the-art”-formula: because people can see and
experience how the art perfectly completes their new house, they may be tempted more quickly to buy
the art.
Lastly, the fact that Marleen, Tessa and Koenraad are so passionate about art and about ArteFacto is
definitely also an important strength of the company. When people do something that they really love,
they will do everything to make a success out of it and this is exactly what I experienced during my
internship.
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1.6.2 Weaknesses
I believe that the most important weakness of the company is the fact that ArteFacto is not the main
occupation of the three founders. Except for the time when I did my internship at the company, there is
nobody who works fulltime for ArteFacto. This can result in the fact that sometimes certain things are
not handled in the most efficient way. Thus, this is certainly something to keep in mind.
Next to this, there is not one „leader‟ of the company. There is no one who says what the others have
to do and in what timeframe, there is no one to report to,... All three founders are at the same level, and
although I do believe this to be a virtuous principle, I think a company needs to have a clear leader in
order to function properly. By this I do not mean that there should be a very rigid hierarchy, but maybe
it could be a good idea to appoint someone who has to follow up what the others do, who makes sure
that deadlines are met,... To implement this without compromising on the equality of the partners, a
system of rotations can be applied in which Tessa is, for instance, „the leader‟ for the first four months
of the year, Marleen for the second trimester and Koenraad for the last four months of the year.
However, if this system appears not to work, they can still appoint a definitive leader.
Another weakness can be found in the fact that ArteFacto does not have an office. Everything has to
be arranged via email and via the telephone. Although there is a meeting every month, it is inevitable
that certain things are not discussed during such a meeting because there is not enough time or because
they are forgotten. In addition, it is not rare that a meeting must be postponed because something has
come up. This is of course understandable as the three founders have another main occupation, but it
goes without saying that ArteFacto does not benefit from this.
1.6.3 Opportunities
The most important opportunity for ArteFacto lies in the fact that the company is one of the first – not
to say the first – to offer the unique combination of a virtual art gallery with the innovative services for
companies. As mentioned before, ArteFacto has to deal with important competitors, but those
competitors offer a (virtual) art gallery or services to companies and private persons similar to those of
ArteFacto. None of ArteFacto‟s competitors offer the combination of the two. This means that
ArteFacto is free to explore the market and has a unique offer with which it can reach a very wide
public.
A second opportunity is of course the fact that the Internet becomes more and more important in the
everyday life of the modern consumer: “total sales on the Internet are on the increase” (Bhatnagar et
al., 2000, p. 98). This represents an important opportunity for the virtual art gallery of ArteFacto.
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1.6.4 Threats
The biggest threat to ArteFacto comes from Kunst In Huis. Although this organization does not offer
completely the same services as ArteFacto, they are very similar and thus this organization should be
considered a very serious competitor. Kunst In Huis has much more experience and also a much
broader focus than ArteFacto. On the other hand, the success of Kunst In Huis proves that an
organization like ArteFacto has a lot of potential.
The second threat could be that, even though people are buying more and more online, they could be
reluctant to buying art online. After all, art is something you have to „feel‟ or experience, and that is
rather difficult via a computer screen. This threat, however, is remedied by the seven-day-guarantee on
all online purchases, which means that there is a seven-day „trial period‟. Thus, if you do not like the
piece of art you have chosen after all or if it is not what you expected it to be, you can send it back
without any costs and you get your money back.
1.6.5 Conclusion
Although ArteFacto has a lot of strengths and although there are some important opportunities for the
company, it should take into account that it has also some important weaknesses and threats to face. If
the company is able to turn these weaknesses into strengths and tries to minimize the negative effects
of the threats, ArteFacto could have a very bright future ahead.
1.7 Conclusion
The non-profit organization ArteFacto was founded in November 2009 by three friends – Marleen
Coppens, Tessa De Buysere and Koenraad Goris – who share the same passion for art. The threesome
founded the organization to give full rein to their passion and via ArteFacto they want to support
artists who wish to sell their art in a more targeted way.
To private art collectors the company presents a diverse range of art via its website, which is in fact a
virtual art gallery. Next to this, a range of innovative services, including an „Art & Values‟ program
and an „art-on-demand‟ service, is offered to companies.
Because quality is a priority for ArteFacto, all the member artists comply with a number of conditions
and strict selection criteria must be met before a piece of art can be presented on the ArteFacto
website. When looking at the art presented on this website, it is clear that ArteFacto offers a very
22
diverse collection of art, in which different styles, art disciplines and themes are represented. Next to
this photographers as well as painters and sculptors can be found among the company‟s members.
The most important competitors can be found in the „everyday‟ (virtual) art galleries and the
companies that lend art to private persons and other companies, such as Kunst In Huis. But it should
be noted here that ArteFacto offers a unique combination of a virtual art gallery with innovative
services for companies, whereas its most important competitors offer the one or the other and never
the combination of the two.
To conclude this chapter, I can say that ArteFacto has a lot of strengths, such as its diverse collection
and the focus on quality, and that there are a lot of opportunities for the company, such as the fact that
it is the only company that offers such a unique combination. Nonetheless, the company has also a few
important weaknesses and threats to face. But if it can tackle those weaknesses and threats adequately
and benefit optimally from the strengths and opportunities, it is heading towards a bright future. In
other words, I do believe that ArteFacto is a company with a lot of potential.
Now that it is clear „who‟ ArteFacto is and what it does, who its most important competitors are and
what the company‟s strengths, weaknesses, opportunities and threats are, I can move on to the second
chapter of this dissertation. This second chapter deals with the theoretical framework, namely
marketing communication of a non-profit organization in its start-up phase.
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2 Theoretical framework: marketing communication of a non-profit
organization in its start-up phase
2.1 Introduction
As will become clear in the third chapter of this dissertation, the most important tasks I had to carry
out were related to the field of marketing communication. That is why I chose this subject as
theoretical framework for this paper. In addition, it is very interesting to start from the point of view of
a profit-oriented company and then to compare this with my experience of working for a newly
founded company in the non-profit sector. Especially because there is not much literature to be found
on this topic.
In this chapter I will first discuss what the term „marketing communication‟ means and I will point out
the difference with corporate communication. Secondly, I will indicate why companies pay so much
attention to marketing communication and why they invest so much time and money into it. Then, the
different strategies of marketing communication will be discussed and lastly, I will take a look at the
wide range of marketing communication tools companies can choose from.
2.2 Marketing communication: what?
„Marketing communication‟ is a term that is frequently used these days. But what does it actually
mean? As Floor and van Raaij (2006) have indicated, „marketing communication‟ is the collective
noun to talk about all external communication of a company. More specifically they define it as “het in
contact treden met de handel en/of consumenten om hun kennis, attitude en gedrag te beïnvloeden in
een voor het marketingbeleid gunstige richting” (Floor & van Raaij, 2006, p. 77). Thus, the term refers
to the act of entering into contact with the distributive trades and/or the company‟s (potential)
customers, so that they get to know the company and its products. During this contact, the company
provides information about its products and/or about the benefits of the company‟s brand(s). The goal
of this entering into contact is of course to sell the company‟s products, but also to build a positive
image and to gain consumer confidence.
Floor and van Raaij (2006) indicate that this contact can be personal, but that it can also be established
via mass media such as the Internet and advertising, or via an intermediary, as is the case in
marketing-pr. They, as does any other book or paper on marketing communication, identify the
following tools of marketing communication: advertising, public relations, sponsorship, promotions,
direct marketing, in-store communication, personal selling, and fairs and exhibitions. These tools will
24
be discussed in more detail in section 2.3 of this chapter and, as will be illustrated further on in this
dissertation, not all tools are appropriate for a non-profit organization like ArteFacto.
When talking about external communication of a company, it is very important to pay attention to the
distinction between „corporate communication‟ and „marketing communication‟. Although these two
concepts are mostly used interchangeably, they do not have exactly the same meaning. “Bij corporate
communicatie gaat het om de onderneming of organisatie als geheel. Bij marketingcommunicatie
daarentegen gaat het om de merken, producten en diensten van de onderneming” (Floor & van Raaij,
2006, p. 58). Thus, as Lemento nv (n.d.) indicates, the distinction is made because marketing
communication deals with the brand(s) at the level of the products and services. Lemento nv (n.d.)
identifies corporate communication as the umbrella for three forms of communication: marketing
communication, management communication and organizational communication. Thus, according to
Lemento nv (n.d.), marketing communication is a part of corporate communication.
The goal of corporate communication is to establish trust in the company. This kind of communication
does not have a direct selling purpose, but it does nonetheless influence the marketing communication
of the company. “Met corporate communicatie wordt als het ware het bedrijf achter het merk
geprofileerd” (Floor & van Raaij, 2006, p. 58). That is why, as will be illustrated further on in this
dissertation, the subject and the basis of corporate communication is in fact the mission of the
company.
It should be noted here that the marketing communication of a company helps the public to form an
image of the company. Thus, marketing communication has also an influence on corporate
communication. This is the obvious reason for which the two concepts are frequently used
interchangeably.
The tools of corporate communication are mostly the same as those of marketing communication. But
very important for the image of the company is the „appearance‟ of the communication. That is why,
next to the tools of marketing communication, “een duidelijk herkenbare huisstijl (corporate design)
een belangrijk instrument kan zijn in de corporate communicatie” (Floor & van Raaij, 2006, p. 61).
Consequently, most companies spend large amounts of money on the development and
implementation of the right corporate design. After all, a consistent corporate design results in
recognition. This spending of large amounts of money can be a problem for a non-profit organization.
Because a non-profit organization, especially one in its start-up phase, usually does not have a lot of
money, it has to develop its own corporate design, using a limited budget (read: without using a
specialized communication agency). This was also the case for ArteFacto, which will be illustrated
further on in this dissertation.
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In chapter three of this dissertation, it will become clear that some tasks I carried out during my
internship involved a combination of marketing communication and corporate communication. But
first, the reasons for marketing communication will be looked at. Why do companies pay so much
attention to marketing communication and why do they invest so much time and money in it?
2.3 Marketing communication: why?
The success of a company is often determined by the marketing activities and thus also by the
marketing communication of the company. “Financiën, operationele activiteiten en andere
bedrijfsfuncties zijn van weinig belang als er onvoldoende vraag is naar goederen en diensten” (Kotler
et al., 2008, p. 4). This because if there is no demand, there is no turnover and consequently there is no
profit. The profit is of course not relevant in the case of a non-profit organization. Nonetheless, the
non-profit organization needs turnover in order to survive, and thus it needs demand for its products
and/or services.
In order to create demand for its products and/or services, a company needs marketing
communication. As was mentioned earlier, one of the goals of marketing communication is to sell the
company‟s products, but also to build a positive image and to gain consumer confidence. In other
words, one of the objectives of marketing communication is to build a strong brand, because a strong
brand is worth a fortune. It should be noted here that a „brand‟ can stand for a product or a service but
also for a company or a non-profit organization (e.g. Amnesty International).
Via marketing communication potential customers get to know the company and its products or
services, which is especially important in the case of a new company or a new product/service, thus
also during the start-up phase of a company. This marketing communication makes sure that the new
company gains name recognition, which is crucial for the creation of a strong brand. That is why most
of the tasks I had to carry out during my internship were situated in the field of marketing
communication.
In the case of ArteFacto, the goal of the marketing communication, during my internship, was to make
the company name and its products and services known to the public. The company does not aim to
brand its member artists and their art, but it wants to make „ArteFacto‟, as a provider of „products‟ and
services, a strong brand. This is what Rossiter and Percy (1987, pp. 131-136) describe as “brand
awareness”: people recognize the brand, and if they believe that ArteFacto can satisfy a certain need,
they will purchase the company‟s „products‟ or use its services. Next to this, ArteFacto creates a
certain “category need”: the company puts forward its products and services as a need. For example: if
you want a housewarming party that is unique and not dull, use ArteFacto‟s services. Of course, like
26
any other company, other goals of ArteFacto‟s marketing communication are “brand
attitude/knowledge” and “purchase intention”. The first refers to the fact that people get to know the
brand and believe that that particular brand is the best in satisfying a certain need, the latter to the fact
that people are persuaded to buy this particular brand in order to satisfy a certain need.
Kotler et al. (2008, p. 371) mention that the most effective marketing communication, is the
communication that focuses on all four goals. So to conclude this section, I can say that, according to
these authors, ArteFacto is doing a good job so far as its marketing communication is concerned.
2.4 Marketing communication: strategies?
In order to develop good and efficient marketing communication, a company needs a good strategy.
The choice for a particular strategy depends on the goals of the marketing communication (cf. supra).
Next to this, the strategy differs according to the different stages in the „life‟ of a product or brand. As
Floor and van Raaij (2006, p. 215) indicate, there are four different strategies for four different stages:
a strategy for a new product or brand, one for a developing product or brand, another one for a mature
product or brand and one for a product or brand at the end of its „life‟. The chosen strategy results in
the proposition: “deze vormt de boodschap en de belofte aan de doelgroep” (Floor & van Raaij, 2006,
p. 225).
2.4.1 Marketing communication strategy for a new product or brand
When a company launches a new product or brand, the (potential) customers have to learn what the
product or brand can do for them. So here, the goals of the marketing communication are category
need, brand awareness and brand attitude/knowledge. As mentioned earlier, ArteFacto is currently
striving after these goals.
In the case of a new product or brand, the marketing communication has to communicate the essence
of the brand or product. “ Dit wil zeggen de centrale functionele voordelen van het product; en hieraan
gekoppeld de voordelen voor de consumenten als ze het nieuwe product gaan gebruiken” (Floor & van
Raaij, 2006, p. 228). This is something that will be illustrated in chapter three of this dissertation.
To be the first on the market usually costs a lot of time, effort and money and is not without risk.
ArteFacto does not save on time and effort, but as it is a starting non-profit organization with a limited
budget, inevitably it has to save on the money-part. The company‟s founders do this by trying to do as
much as possible themselves and thus, by using as less as possible the assistance of outsiders, like
communication agencies, for the company‟s marketing communication.
27
Notwithstanding the risks of being the first on the market, it also has some benefits. Mostly, the first
brand becomes the market leader and clients will not easily believe that another brand is better in
satisfying their needs. Next to this, the first brand on the market usually has the best chances to
develop into the „standard brand‟ in a certain product category (e.g. Pampers and Coca Cola). Again,
this is very promising for ArteFacto.
2.4.2 Marketing communication strategy for a developing product or brand
Here, customers already know that the product or brand exists. But in this stage, there are already
competitors on the market. Thus, the marketing communication of the company has to focus on
defending the company‟s market position against „attacks‟ of the competitors. “Het merk moet zich
positioneren ten opzichte van deze andere merken. Er moet een merkenvoorkeur worden gecreëerd”
(Floor & van Raaij, 2006, p. 230). Two important „sub-strategies‟ are, according to Floor and van
Raaij (2006, pp. 230-232) the emphasizing of distinctive characteristics and the adding of
psychosocial meaning4.
2.4.3 Marketing communication strategy for a mature product or brand
In this stage, the product or brand has to deal with fierce competition. This is why the marketing
communication has to focus on the loyalty of the customers to the brand. “De bestaande kopers
moeten minder ontvankelijk worden voor proposities van andere merken” (Floor & van Raaij, 2006, p.
232). Floor and van Raaij (2006, pp. 232-241) distinguish here six „sub-strategies‟: establishing
spontaneous brand awareness, emphasizing better performance than other brands, emphasizing the
lower price of that performance, highlighting product enhancements, improving the psychosocial
meaning and confirming customer satisfaction.
2.4.4 Marketing communication strategy for a product or brand at the end of its „life‟
During the last stage in the „life‟ of a product or brand, a company has two options to prolong this
„life‟, according to Floor and van Raaij: “zolang het nog duurt, kan het merk worden „uitgemolken‟.
[...] Ook kunnen handelspromoties het merk zo lang mogelijk in het assortiment van detaillisten
houden” (Floor & van Raaij, 2006, p. 241). The first option can be achieved by keeping the costs low.
If the company chooses to do nothing, the brand or product will generate less and less turnover and
profit. On the other hand, if the company wants to prolong the „life‟ of its brand or product, it can try
4 For instance, by emphasizing that the product or brand is mostly used by attractive, young and dynamic people.
28
to revive the product or brand. Next to this the company can suggest other moments of use and
introduce new target audiences. Thirdly, the company can opt to reposition the brand. This can,
according to Floor and van Raaij (2006, pp. 241-242), be achieved via the use of four different
strategies: communicating adaptations of the product, focussing on new applications, increasing the
frequency of use and attracting new target audiences. The attracting of new target audiences is an
option that is still available for ArteFacto, as it can still broaden its focus to, for instance, students (cf.
supra).
2.4.5 Marketing communication strategies: conclusion
To conclude this section, I can say that ArteFacto currently applies the marketing communication
strategy for a new product or brand. It is a new company that clearly wants that (potential) clients get
to know it and learn what ArteFacto has to offer them. The objectives the company is striving after for
the moment, are without a doubt category need, brand awareness and brand attitude/knowledge, which
are the goals of the marketing communication strategy for a new product or brand, identified by Floor
and van Raaij (2006).
Later on, when ArteFacto will develop into a mature company (brand), it will have to apply other
marketing communication strategies, which will be different for each stage in its „life‟. If everything
goes well, ArteFacto will develop into a mature brand and then probably will have to come up with a
strategy to maintain this status and its market position. Eventually, even though this is never the
intention of a company, ArteFacto‟s „life‟, like everything else, will come to an end and then, the
company will have to develop a marketing communication strategy that is appropriate for a product or
brand at the end of its „life‟. But, hopefully this stage in the „life‟ of ArteFacto will be postponed as
long as possible.
2.5 Marketing communication: tools?
With „tools‟, I refer to what Floor and van Raaij (2006, p. 351) call the approaches to marketing
communication that require a certain organization and that should be appropriate for the product or
brand and the target audience. This means that not every tool will be appropriate for any product or
brand.
As mentioned before, the different tools of marketing communication, according to Floor and van
Raaij (2006), are: advertising, public relations, sponsorship, promotions, direct marketing, in-store
29
communication, personal selling, and fairs and exhibitions. Jean-Marc Décaudin (1999, pp. 53-56)
distinguishes, in addition to these tools, what he calls “les autres techniques de communication”. Here
he talks about the product and its design, the packaging, the corporate design, lobbying, word-of-
mouth and recruitment communication. Richard J. Varey (2002, pp. 166-176) too completes the list of
Floor and van Raaij with two other tools of marketing communication: product placement or “stealth
advertising” and advertorials. Another marketing communication tool, identified by Robyn Blakeman
(2007, pp. 14-15) is the so-called “guerrilla marketing”. All these tools will be discussed briefly in this
section and I will indicate which tools are appropriate for a non-profit organization in its start-up
phase, based on the experience I gained during my internship.
2.5.1 Advertising
„Advertising‟ is often used to describe all forms of advertising communication. But in fact, “it covers
only communication appearing in print media, including newspapers and magazines, and in
broadcasting media, including radio and television” (Blakeman, 2007, p. 14). Via advertising, a large
and not targeted audience can be reached. Companies have to pay for advertising, so that media
placement and message content are guaranteed. According to Blakeman, the advertising tool is “the
best choice to build brand awareness and develop brand image” (Blakeman, 2007, p. 14). This is also
mentioned by Décaudin: “la publicité-médias vise, de manière schématique, des objectifs de notoriété
et d‟image” (Décaudin, 1999, p. 51).
This is a clear argument pro the use of advertising for a non-profit organization in its start-up phase, as
one of the main goals is establishing brand awareness and developing brand image (cf. supra). An
argument contra the use of advertising in the start-up phase of a non-profit organization, can be found
in the fact that advertising needs to be paid for. In its start-up phase a non-profit organization has a
very limited budget and is thus not capable to pay the enormous amounts of money that are asked by
the media for advertising space. As June Marchand and Sylvie Lavoie indicate:
“When organizations wish to control the day or time of appearance of the message in the
media, and when they collaborate with several media, their advertising expenses increase. In
their opinion, a choice has to be made between free services and message efficiency. Thus,
financial considerations have an important impact on their decisions” (Marchand & Lavoie,
1998, p. 38).
This is something I definitely experienced during my internship. The message ArteFacto wanted to put
forward at that moment, was a message to a very targeted audience, namely artists, companies and
30
communication-event agencies. Thus, advertising was not an appropriate tool. In addition, due to
ArteFacto‟s limited budget, advertising was out of the question.
2.5.2 Public relations
“The job of public relations is to give a product or service news value. The most common form of
information distribution is done by issuing a news release but news conferences and interviews are
also useful” (Blakeman, 2007, p. 13). This kind of exposure is mostly free, and thus, ideal for a non-
profit organization in its start-up phase. That is why ArteFacto gave an interview to „Bizz-magazine‟
in April 2010, before I started my internship. The article5 presents ArteFacto and its founders and so
the readers of the magazine got to know the company.
The downside of public relations is that the exposure is not always guaranteed, because the
information is not always picked up or is often rewritten. But, “not all forms of public relations rely on
the ability to generate news; others, like event sponsoring and brochures, are paid for, have guaranteed
message content, and occur on a predetermined schedule” (Blakeman, 2007, p. 13). This kind of
public relations is not so evident for a starting non-profit organization, again because the company
needs to pay for it and non-profit organizations at the beginning of their „life‟ do not have this kind of
money.
It is obvious that this marketing communication tool is very effective to, for example, announce an
event or repair a damaged reputation. “Strategically, public relations can be used to inform, tantalize,
or build curiosity around a product or service launch, deliver testimonials, or whet the consumer‟s
appetite for upcoming promotional events” (Blakeman, 2007, p. 13).
As Décaudin (1999) indicates, the goal of public relations as a marketing communication tool, is not to
sell a product or service. “L‟objectif de cette technique est de créer une relation de compréhension et
de confiance favorisant l‟image de l‟entreprise et de ses produits […]. Il s‟agit donc moins de vendre
que d‟obtenir un soutien moral facilitant l‟activité de l‟entreprise” (Décaudin, 1999, p. 52). This is
something that is clearly illustrated by the article on ArteFacto in „Bizz-magazine‟ and backed up by
the definition of public relations according to Smith and Taylor: “the development of and maintenance
of good relationships with different publics. The publics are the range of different groups on which an
organization is dependent” (Smith & Taylor, 2004, p. 444).
5 See annex 3: Article on ArteFacto in „Bizz-magazine‟ (April 2010, pp. 108-109).
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2.5.3 Sponsorship
These days, sponsorship is a professional and an integral part of the marketing communication of
many companies. The driving principle of sponsorship is: “de sponsor levert geld, goederen, diensten
en knowhow. In ruil hiervoor verplicht de gesponsorde zich mee te werken aan het bereiken van de
communicatiedoelstellingen van de sponsor” (Floor & van Raaij, 2006, p. 408). Via sponsorship a
diverse range of goals can be strived after: increased brand awareness, image enhancement, showing
of good citizenship, creating goodwill,... Another major advantage of sponsorship is that “sponsorship
can be cost-effective (compared to advertising) in terms of reaching a particular audience. It does allow
access to very specific types of audiences that otherwise might be difficult to reach” (Smith & Taylor,
2004, p. 485). This is a good reason for a non-profit organization to choose sponsorship over
advertising, if it has the choice.
Although sponsorship can be more cost-effective than advertising, it also requires a lot of money,
which a start-up company usually does not have. Thus, it is clear that a young non-profit organization,
like ArteFacto, does not have the means to sponsor anything. But it could be something to keep in
mind, because the sponsoring of, for example, art events is on the rise. Maybe, when ArteFacto is a
mature company, it can, for example, sponsor exhibitions of its member artists.
2.5.4 Promotions
According to Blakeman, “sales promotions uses incentives or motivators as an enticement for
consumers to buy or use a product or service” (Blakeman, 2007, p. 14). These incentives can generate
interest and can best be used for the launch of a new product or service or when a company tries to
resurrect an ageing brand. Examples of incentives are coupons, samples, contests and buy-one-get-
one-for-free offers. As Varey indicates, “sales promotion activities help salespeople to do a better
selling job [...]” (Varey, 2002, pp. 177-178). A downside of sales promotions is that it is possible that
you sell your product or service to loyal customers (read: customers that buy or use the product or
service at its normal price) at a lower price.
A non-profit organization could use this marketing communication tool, but it is a tool that ArteFacto
cannot use, due to the fact that the company in fact operates as a middleman, and thus sells things that
it does not own. Next to this, it is very difficult to offer promotions on the services it offers. Thus, this
is a marketing communication tool that ArteFacto will probably never use, because it is not
appropriate for the company, nor for the target audience.
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2.5.5 Direct marketing
“Direct marketing brings the market directly into the home or office of an individual buyer, instead of
the buyer having to go to the market” (Smith & Taylor, 2004, p. 386). This is a tool that is increasingly
being used by companies because “ companies are no longer satisfied with just talking to their
customers, they would much rather have a dialogue with them in order to get to know them better and
build lasting customer relationships” (Hasouneh & Alqeed, 2010, p. 48). As I experienced during my
internship, also non-profit organizations “are recognizing the importance of using direct marketing in
their efforts to reach wider audiences, build revenue and foster long-term relationships” (Arnold &
Tapp, 2003, p. 141).
The two most popular types of this tool are, according to Smith and Taylor (2004, p. 388) direct mail
and telemarketing. During my internship, I came into contact with both of them. In the case of direct
mail, the distinction between traditional direct mail and e-mailings can be made. The latter is in fact
the online version of traditional direct mail. In both cases, it involves addressed mail with a
commercial message. But, unlike the traditional version, e-mailings do not have to deal with mailing
and printing costs. This makes e-mailings an ideal marketing communication tool for any company
that has a limited budget. Other advantages of e-mailings compared to the traditional direct mail are,
according to Hasouneh & Alqeed, “cost-effective contacts, preferred method of communication for
many people, seen as a personal medium, can be customized for each recipient, allows easy interaction
and interaction can be tracked and the effects measured” (Hasouneh & Alqeed, 2010, pp. 54-55).
It should be noted here that direct marketing should not be confused with direct publicity. As
Décaudin says, direct publicity “s‟adresse individuellement aux personnes composant la cible de
communication en recherchant une personnalisation du message la plus grande possible” (Décaudin,
1999, p. 51). The distinction between the two can be found in the fact that the main objective of direct
publicity is not to sell, whereas this is definitely the case for direct marketing.
Blakeman indicates that “because direct marketing uses databases to reach an exclusively targeted
audience, it is one of the best ways to talk to the target on an individual level and induce an immediate
response” (Blakeman, 2007, p. 14). Next to this, he is of opinion that both promotions and direct
marketing are great ways to build brand awareness and encourage purchase, as they are both
considered to be promotional vehicles. Thus, even though ArteFacto will probably never use
promotions as marketing communication tool, it does have direct marketing as a powerful tool to reach
these goals.
As I mentioned before and as will be illustrated in the third chapter of this dissertation, during my
internship at ArteFacto, I had to use this tool to „promote‟ the company to other companies, artists, art
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schools and event agencies. I first had to create databases of interesting prospects, after which I used
direct mail and the telemarketing tool to contact these prospects.
2.5.6 In-store communication
As Décaudin mentions, “la PLV (publicité sur le lieu de vente) se compose d‟affichettes, de
présentoirs, d‟autocollants, de stands, de mobiles publicitaires,…, mis en place dans les points de
vente” (Décaudin, 1999, p. 52). This kind of communication can be very interesting because it allows
the company to come into contact with the customer, just before he or she buys something. “Elle peut
être un bon rappel de publicités-médias ou d‟autres actions de communication, rappel d‟autant plus
important qu‟il s‟agira d‟achats impulsifs […]” (Décaudin, 1999, p. 53).
When looking at the definition of Décaudin, it shows that this is a marketing communication tool that
is most appropriate for supermarkets, hypermarkets, department stores and deep discounters.
Nonetheless, I think this can also be a very interesting tool for certain non-profit organizations,
because this tool does not require a lot of money, yet it offers great visibility. For ArteFacto this tool is
not an option, because the company does not have an office. But maybe, one day, when it has an
office, it can put up posters at the windows so that people walking by can learn something about the
company. And even though this is not „in-store communication‟ in the true meaning of the word, I
believe it can be categorized here.
2.5.7 Personal selling
“Personal selling is face-to-face selling between a buyer and a seller, the ultimate interactive
relationship” (Blakeman, 2007, p. 15). This is a tool that is frequently used by non-profit
organizations, even though it can be very time-consuming. It is a marketing communication tool that is
intensively used by ArteFacto. Mostly, after having contacted prospects, being another company, an
artist or a communication-event agency, via direct marketing, one of the three founders of the
company makes an appointment with the prospect. During this appointment, the concept of ArteFacto
is explained and the representative of the company tries to persuade the prospect to join forces with
ArteFacto.
Here, the persuasive nature of marketing communication really becomes evident. After all, marketing
communication is a type of persuasive communication. This is something that is discussed by
Décaudin: “la communication marketing est par définition une communication persuasive” (Décaudin,
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1999, p. 26). According to this author, the persuasive nature of marketing communication becomes
evident when looking at the goals it strives after:
“La communication marketing consiste pour une organisation, à transmettre des messages à
ses publics en vue de modifier leurs comportements mentaux (motivations, connaissances,
images, attitudes,...) et par voie de conséquence, leurs comportements effectifs” (Décaudin,
1999, p. 26).
The persuasive nature of marketing communication clearly becomes evident through personal selling,
because, to be persuasive, communication must attract the attention of the target audience in order to
be picked up by this audience. This is obviously something that can best be achieved via personal
contact.
2.5.8 Fairs and exhibitions
Fairs and exhibitions “are unique in that they are the only media that bring the whole market together
– buyers, sellers and competitors – all under one roof for a few days” (Smith & Taylor, 2004, p. 504).
Mostly, a lot of money has to be paid to be allowed to have a stand at such a fair or exhibition. Thus,
even though a fair or exhibition offers a lot of possibilities, such as meeting interesting prospects, it is
a tool that cannot always be used by a non-profit organization in its start-up phase. Nonetheless,
during my internship I have asked the organization of the Brussels Affordable Art Fair how much it
would cost to get a stand there. Unfortunately, I did not get any response. This could be a missed
opportunity.
2.5.9 The product and its design
“Le produit est souvent la première communication perçue par le consommateur lors de ses achats, du
moins en grande consommations” (Décaudin, 1999, p. 53). Next to this, the commercial success of
design products – e.g. Apple-products – show the power of this marketing communication tool. Of
course this is something that cannot be applied by ArteFacto, for obvious reasons. The only thing the
company can do is to make sure that the art and the services it offers are of high quality, so that its
clients are satisfied. Of course, this is a tool that other non-profit organizations can use.
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2.5.10 Packaging
Again, this is a marketing communication tool that ArteFacto cannot use, because of the obvious
reason that ArteFacto does not offer products that use packaging. Nonetheless, for other non-profit
organizations this can be an interesting tool. “Outre ses fonctions pratiques [...] le packaging
communique le positionnement et l‟image du produit et de la marque” (Décaudin, 1999, pp. 53-54).
Thus, via this marketing communication tool, the public can learn something about the company, what
it stands for and its values.
2.5.11 Corporate design6
As mentioned before, this can be a very important tool in the communication of a company. “Le logo,
le papier à lettres, les enveloppes, les factures, les cartes de visite, la façade de l‟entreprise […] sont
autant de moyens de communication que l‟entreprise ne doit pas négliger car ils sont autant de
contributions à la formation de l‟image des produits, des marques et de l‟entreprise” (Décaudin, 1999,
p. 54). This is something that is backed up by Smith and Taylor: “it is important because it is the prime
interface between an organization and its key audiences” (Smith & Taylor, 2004, p. 654). Important
for this tool is that the company develops it while using a long term view. The corporate design is not
something that can be changed every year, because then it loses a lot of its power. After all, the most
important goal of this marketing communication tool is to enhance brand recognition.
This is a tool that can (should) be used by every company. Most companies will use the aid of a
specialized communication agency to develop a corporate design. But as mentioned before, this costs a
lot of money and again, this is something a non-profit organization in its start-up phase does not have.
This is also something I experienced during my internship at ArteFacto: there was already a logo and a
consistent colour use, but there was not yet a corporate design for, for example, letters, for which I
developed one. I also suggested to keep the colours on the website consistent with this corporate
design and to design envelopes with the ArteFacto logo on them. This because I believe that a
consistent corporate design is vital, especially during the start-up phase of a company. Maybe later on,
when ArteFacto has more money, it can call in a communication agency to give some advice on how
the current corporate design can be improved.
6 In section 2.1, I indicated that the corporate design is a tool of corporate communication, but several authors,
like Jean-Marc Décaudin, categorize it as marketing communication tool. This is why this tool is also discussed
here.
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2.5.12 Lobbying
This is not really a marketing communication tool that an organization like ArteFacto can use, but it is
worth mentioning because it can be an interesting tool for other companies and other types of non-
profit organizations. “Le lobbying est une technique de communication ciblant les décideurs
(politiques, institutionnels) pour les sensibiliser aux intérêts particuliers de certaines professions et
tenter d‟influencer l‟évolution du cadre juridique du secteur concerné” (Décaudin, 1999, p. 54).
Even though this is also a very time-consuming marketing communication tool, it can be interesting to
use it as a starting non-profit organization, because it is a practically free tool. Besides the time a
company has to put into it, it does not have to pay for anything else.
2.5.13 Word-of-mouth
“Le bouche à oreille est une technique de communication qui peut être provoquée par l‟entreprise pour
inciter le consommateur à s‟informer auprès d‟autres consommateurs” (Décaudin, 1999, p. 55). This
definition of Décaudin is backed up by the definition of Kozinets et al.: “word-of-mouth-marketing
(WOMM) is the intentional influencing of consumer-to-consumer communications by professional
marketing techniques” (Kozinets et al., 2010, p. 71).
Varey (2002, p. 176) argues that word-of-mouth has replaced traditional advertising. The reason for
this phenomenon is provided by Smith and Taylor: “no amount of advertising or expert selling can
compete with a trusted colleague, friend, or influencer – someone who you know is on your side –
recommending or criticizing a product, service or company” (Smith & Taylor, 2004, p. 590).
Even though it is a tool that obviously is difficult to control, it is a very important and interesting
marketing communication tool for any company or organization, but especially for one in its start-up
phase. This because “word-of-mouth recommendation, by a satisfied customer, is one of the most
effective, and cost-effective marketing communication means” (Varey, 2002, p. 177). Thus, for a
company or organization it is important to “identifier les leaders d‟opinion et de définir la forme et le
fond du message afin de les convaincre de jouer le rôle de relais d‟information vis-à-vis des autres
consommateurs” (Décaudin, 1999, p. 55).
It should be noted here that good word-of-mouth can also be generated through, for example, an event.
This is, next to establishing brand awareness, one of the reasons for which ArteFacto is currently
preparing its first company event. During my internship, I had the opportunity to start thinking about a
concept for this event7. With this event, ArteFacto is definitely following a trend: “organisations are
7 See chapter three, section 3.4
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increasingly seeking to achieve strategic objectives through the delivery of events” (Crowther, 2009,
p. 227). Crowther outlines that an event is a pervasive communicator of brand personality and values
and that “corporations and businesses embrace events as key elements in their marketing strategies”
(Crowther, 2009, pp. 227-228).
A special type of word-of-mouth, that should also be mentioned here, is Internet word-of-mouth, also
called word-of-mouse. This is, according to Blakeman, “a great way to build brand awareness and
reach a large number of consumers” (Blakeman, 2007, p. 14). This marketing communication tool
uses interactive and/or entertaining Internet advertising, that is delivered via email or websites, in
order to inform and „infect‟ targets with enough interest to visit the host website. “The success of viral
marketing depends on each receiver passing the interactive message along, „infecting‟ a friend or
family member with information about the particular website” (Blakeman, 2007, p. 14). When using
Internet word-of-mouth via social network sites, it is a free marketing communication tool, that allows
companies to reach an enormous, though untargeted, audience and thus, it is ideal for a starting non-
profit organization. Generating word-of-mouth via social network sites, such as Facebook, is
consequently very popular among these non-profit organizations, but also among many other
companies.
This is a marketing communication tool that ArteFacto tries to use via its Facebook and Twitter pages.
On these pages messages are posted, hoping that people will pick them up and will spread the word.
As will be illustrated in chapter three of this dissertation, during my internship I had the opportunity to
update the ArteFacto Facebook page.
2.5.14 Recruitment communication
“Les recrutements donnent souvent lieu à la publication d‟annonces dans la presse; ces annonces sont,
pour les entreprises, autant d‟occasions de se manifester et de communiquer leur image” (Décaudin,
1999, p. 55). Companies are consequently paying more and more attention to this marketing
communication tool and sometimes even hire specialized communication agencies to develop their
recruitment ads. Recruitment communication is a tool that can be used by any type of company.
Nonetheless, the more money a company can spend, the bigger and the more colourful the ad will be.
Recruitment communication is a marketing communication tool that has not been used by ArteFacto
yet, because the company cannot afford hiring someone at the moment. In the future though,
ArteFacto will probably use this tool and here, I want to advise the company to use its consistent
corporate design in this communication too and to keep in mind that it is not just a job advertisement,
but in fact an important marketing communication tool.
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2.5.15 Product placement
“As the costs of advertising through traditional commercial TV, magazines, newspapers, and radio
escalates [...], some marketers are turning to alternative vehicles to make contact with consumers and
buyers” (Varey, 2002, p. 166). An example of such an alternative vehicle is product placement or
stealth advertising. This is a marketing communication tool that is used more and more in TV-
programmes and movies. “Instead of fictional brands, characters appear alongside real products to
foster greater authenticity” (Varey, 2002, p. 167). The strength of this tool is that most viewers do not
realize that they are in fact watching an advertisement.
This is a marketing communication tool that has not been used by ArteFacto yet and maybe it is not
that easy for ArteFacto to use this tool, because there is no indication referring to the company on the
art works. Nonetheless, I do believe that it could be an interesting tool for ArteFacto as its name and
the name of the artist(s) concerned can be mentioned in the credits. Next to this, it is for instance
possible, to put up a poster, with ArteFacto‟s name on it, on a set. This way the company gets a lot of
exposure for free. Thus, this is a very interesting marketing communication tool for any starting non-
profit organization.
2.5.16 Advertorials
“An advertorial or infomercial is an advertisement designed to stimulate editorial content, while at the
same time offering valid information to your prospective clients” (www.advertorial.org). To make
sure that readers are not misled, the article must be marked as „advertisement‟, „advertising‟ or
„promotion‟. “Often advertorials will be written by opinion formers such as eminent academics and
politicians. The purpose is to show authoritatively the provider‟s products in a good light, perhaps as a
solution to a social problem” (Varey, 2002, p. 169). Nowadays, advertorials appear also on the
television screen (e.g. infomercial for Leffe on Belgian television). The driving principle remains the
same, though.
Because there is, compared to a regular advertisement, an implied endorsement, the cost of an
advertorial will also be higher, which makes this marketing communication tool not appropriate for a
non-profit organization in its start-up phase. This is probably the reason why this tool has not yet been
used by ArteFacto.
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2.5.17 Guerrilla marketing
“Guerrilla marketing refers to the use of any clean, printable surface for message delivery” (Blakeman,
2007, p. 14). This surface can be a sidewalk, a car or a parking meter. “These unique media vehicles
often reach the target audience more effectively than advertisements in print or broadcast media, so
advertising efforts and costs are minimized, but maximum exposure is achieved” (Blakeman, 2007, p.
15). This makes this marketing communication tool very interesting for a non-profit organization in its
start-up phase.
Notwithstanding the fact that ArteFacto has not yet used this tool, I believe this can be an interesting
way to announce, for example, its upcoming event. This for the obvious reason that a very wide public
can be reached even though the costs are minimized. Next to this, guerrilla marketing is an excellent
way to generate word-of-mouth (cf. the guerrilla marketing campaign for the Flemish television series
„David‟).
2.5.18 Conclusion
It has become clear that a company can choose from a wide range of tools to market itself, its products
and/or its services. Each one of these tools has strengths and weaknesses and can be used to strive
after specific goals. Because of this specific characteristics of each marketing communication tool, not
every tool is appropriate for any company, product or brand. I examined in this section which tools are
appropriate for a non-profit organization in its start-up phase – using ArteFacto as an example – and
which ones are not. The conclusion is that advertising, sponsorship, promotions, fairs and exhibitions,
and advertorials are marketing communication tools that are not appropriate for a starting non-profit
organization. Mostly the reason is that these tools require too much money, which the organizations
concerned usually do not have. On the other hand, public relations, direct marketing, in-store
communication, personal selling, the product and its design, packaging, corporate design, lobbying,
word-of-mouth, recruitment communication, product placement and guerrilla marketing are marketing
communication tools that are appropriate for non-profit organizations in their start-up phase.
It should be noted here that all these tools should not be used separately, because “a brand‟s success is
often driven by many different communication channels – online and offline – at the same time”
(Pfeiffer & Zinnbauer, 2010, p. 42). As Smith and Taylor (2004, p. viii) mention, all these separate
tools should be integrated together. This because a favourable and consistent image is vital for a brand
or organization. By integrating the different marketing communication tools, a synergy in the
communication of a brand arises and “op deze wijze wordt het communicatiebudget effectiever
besteed” (Floor & van Raaij, 2004, p. 643). And – at the risk of repeating myself – due to the limited
40
budget of a non-profit organization in its start-up phase, an effective spending of this budget is
primordial for the organization to survive and to grow. Thus, integrated marketing communication is
important for any company, especially for a starting non-profit organization, because of the more
effective spending of the communication budget. After all, “allocating marketing budgets in the most
efficient way remains one of the key challenges for any marketing executive” (Pfeiffer & Zinnbauer,
2010, p. 42). Next to this, the consistent brand image that arises is another advantage of integrated
marketing communication. If ArteFacto starts using more tools for its marketing communication, this
is definitely something to keep in mind.
2.6. Marketing communication: conclusion
The most important tasks I had to carry out during my internship were related to the field of marketing
communication, which is why I chose this subject as theoretical framework for this dissertation.
The term „marketing communication‟ refers to the act of entering into contact with the distributive
trades and/or the company‟s (potential) consumers, so that they get to know the company and its
products. The goal is to sell the company‟s products, but also to build a positive image in order to gain
consumer confidence.
Companies pay much attention to marketing communication and they invest a lot of time and money
in it, because the success of a company is often determined by its marketing communication. Via this
marketing communication, a (new) company gains name recognition, which is crucial for the creation
of a strong brand. As ArteFacto is a very young company, this is the reason why most of the tasks I
had to carry out during my internship were situated in the field of marketing communication. During
my internship, ArteFacto was striving after the four goals of marketing, identified by Rossiter and
Percy (1987,pp. 131-136): brand awareness, brand attitude/knowledge, category need and purchase
intention. This is a good thing, as the most effective marketing communication is the communication
that focuses on all four goals.
In order to develop good and efficient marketing communication, a company needs a good strategy
and there are four possible marketing communication strategies, depending on the goals the company
wants to achieve and on the stage in the „life‟ of a product or brand. The first strategy is the one for a
new product or brand, which is clearly being implemented by ArteFacto. The second one is the
strategy for a developing product or brand. Thirdly I identified the strategy for a mature product or
brand, and lastly, the fourth strategy is the one for a product or brand at the end of its „life‟.
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The last section of this chapter dealt with the different marketing communication tools. Here it became
clear that a company can choose from a multitude of tools to market itself, its products and/or its
brand(s). The different tools discussed are advertising, public relations, sponsorship, promotions,
direct marketing, in-store communication, personal selling, fairs and exhibitions, the product and its
design, the packaging, the corporate design, lobbying, word-of-mouth, recruitment communication,
product placement, advertorials and guerrilla marketing. The conclusion of the discussion of all these
marketing communication tools was that not every tool is appropriate for any company, product or
brand and that it is very important to integrate the used tools, so that a synergy in the communication
of a brand arises, which results in a more effective spending of the communication budget.
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3 Case study: my internship at ArteFacto
As mentioned in the previous chapter, in this third chapter I will describe the tasks I had to carry out
during my internship and this will function as a case study of the theory described in chapter two. In
other words, chapter three describes how I have put into practice the theory of chapter two, during my
internship. As there was not one main task or one main project assigned to me, I will discuss here the
most important tasks in detail and the more secondary ones will be mentioned briefly.
In this chapter I will first discuss the designing and the making of the company flyer. Secondly, I will
describe the direct marketing activities that I had to carry out and thirdly, the updating of the
ArteFacto Facebook page will be discussed. Fourthly, I will discuss the development of an idea for an
event and the development of several templates, such as a template for letters. Lastly, the „other‟ tasks
are mentioned. These are the tasks that were not directly related to marketing communication.
3.1 Designing and making a descriptive flyer about the company
On April 29th 2010, Tessa and Koenraad had a meeting with representatives of the newspaper Metro,
who were interested in ArteFacto and its services for companies. This is why Tessa asked me on the
first day of my internship, April 26th 2010, to write a text that sums up what ArteFacto stands for and
what it has to offer and to design and make a descriptive flyer with this text. Because it was Tessa‟s
intention to give this flyer to the representatives of Metro, it needed to be ready on April the 28th, so
that Koenraad could print it as his office. Tessa sent me some emails and the article on ArteFacto that
appeared in „Bizz-magazine‟ (cf. supra), and told me that I could use these texts and some texts from
the ArteFacto website as inspiration for my own text.
To complete this task, I first started writing the texts that needed to be in the flyer, using the texts
Tessa sent me and the ArteFacto website. Then, I started to think about the design of the flyer. To get
some inspiration, I looked at some examples on the Internet and then I started designing, first in MS
Publisher, later in MS Word, because Tessa nor Marleen or Koenraad had MS Publisher installed on
their computer. I used the colours of the website and the logo in my text and design, in order to create
a consistent corporate design and at the end of the day, the first draft of the flyer was ready and I sent
it to Tessa for some feedback.
The next day, Tessa came to Marleen‟s office to give me some personal feedback on this first draft.
She liked the colour use and the design, but she wanted the design to look more like the ArteFacto
business cards and she wanted me to integrate more pictures of art works in it. So, she gave me a
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business card (see illustration 25) and some photographs of art works. In the first draft of the flyer,
there was also too much text, thus some paragraphs were deleted. The final result can be found in
annex 4a. Later, I was asked to translate the text into English and French (see annexes 4b and 4c) and
to make a similar flyer, aimed at artists (see annexes 5a, 5b and 5c).
Obviously, this was a task I had to carry out on my own, besides the feedback session. I think this was
a very interesting first task, because it allowed me to get to know the company better, by reading all
those texts and it also gave me the opportunity to be creative. Although it would have been easier if
Tessa was at the office the first day, it was interesting to have so much responsibility and autonomy
from the first day on. Next to this, it was a challenging task due to the fact that there was a deadline
and also because of the translation part. This allowed me to put into practice some knowledge I had
gathered during the year.
This first task is an illustration of the fact that ArteFacto is using a marketing communication strategy
for a new product or brand: the flyer‟s goal is to tell the target audiences what ArteFacto has to offer
them. Thus, it is clear that the marketing communication goals of this flyer are category need, brand
awareness and brand attitude/knowledge. The flyer clearly communicates the essence of ArteFacto as
a brand: it provides information on the company and its founders, on its „products‟ and its services and
on the benefits of using this services (e.g. the stimulation of branding via art competitions). The costs
of this marketing communication tool are minimized because it is completely „homemade‟.
I believe it was a very good idea to create such a flyer, because after having had a meeting with a
prospect, the flyer can be left with this prospect. This way, the prospect has something tangible to
remind him or her of ArteFacto and he or she can show this to other people, and thus, the flyer can
also generate word-of-mouth. To conclude, I can say that, according to me, this is a very good
marketing communication tool to reach the goals ArteFacto is currently striving after.
Illustration 25: ArteFacto business card
44
3.2 Direct marketing
Another task I had to carry out, was situated in the field of direct marketing. As mentioned in chapter
two, I came into contact with the two most popular forms of direct marketing, namely direct mail8 and
telemarketing, during my internship at ArteFacto. To complete these tasks, I first had to create several
databases of interesting prospects. I created four databases that were used – and will be used in the
future – for direct marketing purposes: a database of contacts of the three founders in the business
world, one of interesting artists, a third database of communication-event agencies and one of Flemish
art schools. I created these databases in MS Excel.
After creating the database of contacts of the three founders in the business world – which was in fact
just a list of email addresses –, I wrote a standard email to contact these prospects. This email can be
used to contact any prospect in the business world and can be found in annex 6. The purpose of this
email was to present ArteFacto to the prospects and to let them know what ArteFacto can do for them.
I also used the content of this email to contact managers via the LinkedIn account of Marleen.
The database of interesting artists was created based on the brochures of The Brussels Affordable
Artfair and the Canvascollectie9. After creating this database – which was again just a list of email
addresses –, I contacted these artists via email. Of course, just like the flyer for the artists focussed on
other things than the flyer for companies, the content of the email aimed at artists differs from the
email aimed at the contacts in the business world. This contact email can be found in annex 7. As was
the case for the email aimed at contacts in the business world, the content of the email aimed at artists
was also used to contact interesting artists via the LinkedIn account of Marleen.
The third database I created, was the database of communication-event agencies. I found these
agencies via the Internet and I had to contact them with a personalized letter. One week after I had sent
this letter, I contacted them via the telephone, with the question if they had received the letter and
whether they were interested in meeting a representative of ArteFacto, so that the concept of ArteFacto
could be further explained. Here, a lot of people told me that they had not received the letter yet or that
they had simply not read it. Many of them asked me to send the information again via email. That is
why I would advise ArteFacto to send emails instead of letters in the future. The contact letter and an
excerpt from the database can be found in annexes 8 and 9.
The last database I had to create, was a database of Flemish art schools. Again, I found these art
schools via the Internet. I contacted them with the email that can be found in annex 10. The question
8 Both traditional direct mail and e-mailings.
9 These brochures present the artists who exhibited on The Brussels Affordable Art Fair and the artists who
participated in the contest of the Canvascollectie.
45
for these art schools was if they wanted to put up the flyer and give us a list with email addresses of
their graduates. One school wanted to put up the flyer and one school gave us a list with email
addresses. The others did not react or did not want to give email addresses because of the privacy
legislation. Thus, this was not really a success. Nonetheless, I think it is a very good idea to approach
art schools, because there you can find young artists that might not get to know the company
otherwise. Thus, it is an excellent place to recruit new, talented artists. But maybe ArteFacto can ask
the schools whether a representative of the company can come and present ArteFacto to the students.
Then they can ask the students who are interested to give their email addresses, of course with the
guarantee that the email addresses will only be used by ArteFacto. This way, you do not have to worry
about privacy issues and the interested artists can have a first contact with one of the founders of the
company.
All the emails and letters were accompanied by the right flyer and a copy of the article on ArteFacto
that appeared in „Bizz-magazine‟.
Again, this were tasks that I carried out on my own. Nonetheless, I emailed everything to Tessa, so
that she could see what I was working on and how I dealt with it. At first I did not really like the
creation of the databases, because it involved a lot of Internet research and in the beginning this was
quite boring. But after a while, I got used to it and the more research I did, the more skilled I got, the
easier it became and the faster it went. Next to this, it was a great experience, because I got to know,
for instance, a lot of communication-event agencies. The part of contacting the prospects was
something I really liked, because it was a task with a great deal of responsibility, especially
telephoning the communication-event agencies. To make sure that I felt comfortable while
telephoning, Tessa advised me to write a little „scenario‟, and so I did, as you can see in illustration 26.
I have to say, it was a very useful tip.
For the same reasons as those in the case of the flyer, these direct marketing tasks are an illustration of
the fact that ArteFacto is using a marketing communication strategy for a new product or brand. But,
in addition, they are also an illustration of direct marketing as a marketing communication tool. The
objective of the direct marketing tasks I had to carry out, was not only to present the company, but
also to sell the company‟s services to the target audiences concerned.
I believe this to be a very good tool for ArteFacto because the company really aims to reach a very
targeted audience of companies, artists, communication-event agencies and art schools, and because it
induces direct response. Nonetheless, the contact with the art schools should, according to me, strive
after other goals than those it is currently striving after and in the future, I would not try to approach
communication-event agencies, nor any other company, with a letter, because this is apparently not
46
done anymore. To approach individual art buyers, though, I would keep on using a personalized letter,
because this makes people feel special and unique, and thus increases the response.
Goeie morgen/Goeie middag,
Mijn naam is Lien Ver Eecke van ArteFacto vzw. Wij hebben u vorige week een brief opgestuurd
met een flyer waarin wij ArteFacto voorstellen. Ik bel even om te vragen of u die goed ontvangen
heeft?
Ja
o Bent u eventueel geïnteresseerd om met ons af te spreken, zodat we ons concept
nader kunnen toelichten?
Neen
o Kent u ArteFacto vzw?
Ja
Bent u eventueel geïnteresseerd om met ons af te spreken, zodat we
ons concept nader kunnen toelichten?
Neen
ArteFacto is recent opgericht met als doel hedendaagse betaalbare en
kwaliteitsvolle kunst toegankelijk te maken voor een breed publiek.
We richten ons echter niet enkel op particulieren, maar we bieden
ook aan bedrijven een waaier aan innovatieve activiteiten aan
Voorbeelden hiervan zijn: door onze kunstenaars begeleide team
building evenementen OF kunstworkshops voor werknemers en hun
gezin tijdens familiedagen
Dus eigenlijk willen we een innovatieve partner zijn bij het
organiseren van evenementen
Nu, bent u eventueel geïnteresseerd om met ons af te spreken, zodat
we ons concept nader kunnen toelichten?
Illustration 26: Telephone scenario
47
3.3 Updating the ArteFacto Facebook page
This was a task that was given to me by Marleen. She had already made the Facebook page, but she
did not find the time to really complete it and keep it up-to-date. The first thing I did, was putting one
of the slogans of the company, “Brings art to people and people to art”, on the ArteFacto profile
page, as can be seen in the illustration below.
I have done this because the slogan is obviously an important part of the corporate design of the
company. It is a slogan that is easy to remember and that will easily be picked up and passed on,
which is the intention when putting it on the profile page of ArteFacto and which is essential in
generating word-of-mouth.
Next to this, I have created a photo-album with one art work of each artist who gave me permission to
post photographs of his or her art on the Facebook page. Not all the artists wanted to post their work
on Facebook, because of the fact that Facebook owns everything that you post on it. This is why I
provided all the photos of the art works with a watermark of ArteFacto, even though some of the
artists concerned gave me their permission to post them on Facebook without the watermark. This
watermark also prevents that someone „steals‟ the photos. To provide the photos with a watermark, I
used the free software „Alamoon WaterMark‟.
Because only one photo of one art work of every artist is included in the photo-album, the interested
visitor could be disappointed. This is why I provided the photo-album with the following sentences10
:
“Do you want to see more? Please take a look at www.artefacto.be!”. This to generate more traffic to
10
In Dutch, English and French.
Illustration 27: Slogan on the profile page
48
the ArteFacto website. After all, the ArteFacto Facebook page functions as a marketing
communication tool to promote ArteFacto and its „products‟ and services. This is also illustrated by
the fact that every photograph has been provided with the title of the art work and the name of the
artist.
The fact that the Facebook page functions as a tool to promote the company‟s „products‟, thus the
artists, is also illustrated by illustration 29. Via these posts I, in name of ArteFacto, welcomed a new
member. This way, a good relationship with the artist can be developed and at the same time, the artist
is presented to the people visiting the ArteFacto Facebook page.
Illustration 28: Photo-album on the Facebook page
Watermark Title art work and
name artist
Reference to the ArteFacto website
49
To generate some more word-of-mouth, I invited some people to „like‟ the ArteFacto page. This way
more people get to know the company, as your friends can see which pages you like. As the updating
of the Facebook page was one of my last tasks, I could not do much more than this, because of the
lack of time and the finishing off of other important tasks. But Marleen has taken over this task and
presents, for instance, the artists by regularly posting an art work and some information on the artist,
as can be seen in the illustration below. If you click on the name of the artist, a „note‟ appears, wherein
some more information on the artist concerned is provided.
It is a good thing that the company is using this tool more intensively, because it is a free tool and, as
mentioned in chapter two, it allows ArteFacto to reach an enormous, though untargeted, audience.
Nonetheless, I would advise the company to use the watermarking the way I did, because now, the
watermarks are not very visible and they are easy to get around, even for someone who cannot work
with software like Adobe Photoshop. Using the „crop‟-function in MS Word, the watermark can be
easily removed. In addition, I would advise to always write the name of the company the same way.
Now it is one time written „artefacto‟, another time „Artefacto‟ and sometimes „ArteFacto‟. This can
be very confusing and especially during this start-up phase this is not a good thing. This is an advice
Not very visible and easy to get around
watermarking
Illustration 29: ArteFacto welcomes a new artist
Illustration 30: ArteFacto presenting a member artist on Facebook
50
that applies for all the ArteFacto communication so far. I used “ArteFacto” because the name was
written this way in one of the first emails I received from Tessa, but maybe it would be a good idea to
write it “artefacto”, as this is how the name is written in the logo.
This was, again, a task I had to carry out on my own and thus, it was a task with a great responsibility.
It was a very interesting task because it made me think about the power of social network sites as a
marketing communication tool, but also about the danger of posting things on Facebook (cf. copyright
issues). I enjoyed carrying out this task because it was a whole other way of working with Facebook
than I was used to. Next to this, this task also allowed me to use my languages.
As mentioned before, this task serves as an illustration of generating Internet word-of-mouth. In
addition, it can be used to generate more traffic to the ArteFacto website. Next to this, it is, again, an
illustration of a marketing communication strategy for a new product or brand, but this is a tool that
can of course be used in any stage in the „life‟ of a product or brand.
Notwithstanding the fact that this is an excellent marketing communication tool for ArteFacto, the
company should undertake some effort to get more „friends‟ of the Facebook page, because the effect
of word-of-mouth via Facebook will remain limited if the company has only 65 „friends‟. This is why
I advised the company to put a „Facebook button‟ on the ArteFacto website, so that, if people click on
it, they are immediately transferred to the ArteFacto Facebook page. This is an advice that the
company followed, as can be seen in the illustration below.
3.4 Developing an idea for an event
As mentioned in chapter two of this dissertation, an event is also a great way to generate word-of-
mouth. This is why ArteFacto is currently preparing its first event. During my internship, one of my
tasks was to start thinking about a concept for this event. Because Marleen, Tessa and Koenraad had
said that this event had to be special and not just „another art exhibition‟, I suggested to organize an
„ArteFacto art tour‟ through the streets of „Het Patershol‟ in Ghent. In the case of good weather, the art
Illustration 31: „Facebook button‟ on the ArteFacto website
51
could be exhibited outside; in the case of bad weather, local bars could be asked to exhibit art indoors.
This is profitable for the bars as well, as people are likely to drink something when visiting the bar.
This is the reason why I created a database with an overview of all the bars and restaurants in „Het
Patershol‟. The consumption in the bars could be stimulated by giving the visitors of the art tour a
drink ticket or two.
I suggested to organize a tour of 45 minutes (not more than one hour, because it would be an evening
event) with a time frame of two hours to participate. For example: people can do the art tour from 19h-
21h30 and from 21h30 on, they should go straight to the final location, where a reception would be
organized and more art would be exhibited. The final location would be the „Parnassuskerk‟, at a 10-
minute walk of „Het Patershol‟ and there, the exhibition would continue for two more days, without
the art tour. The exhibiting artists should be present in the „Parnassuskerk‟, because this would be an
opportunity for them to sell their art.
For this event I made some sort of a plan, which sums up all the different aspects of the event, so that
Tessa could clearly understand what I meant. Next to this I had to come up with a cost analysis. These
documents can be found in annexes 11 and 12.
Notwithstanding the fact that Tessa liked this idea, I think it was a little too ambitious for a first event.
Now, the event will be an exhibition on a boat at „Visserij‟ in Ghent. Thus, in fact this is just another
art exhibition, but on a somewhat unusual location. Because this art exhibition was in fact the first idea
for an event, I had to look up interesting locations for an exhibition in Ghent, Antwerp and Brussels.
Again, I created a database for this in MS Excel and I emailed most of the locations to get their rental
conditions. With this information I created a dossier, because this is something the company will
probably still use in the future. Another thing that will definitely be used in the future, is the database
of possible sponsors for the event, which I created during this task. The dossier was in fact an
overview of the contacted locations with their answer and the database of possible sponsors was an
overview of the companies concerned and their contact information.
This was also a task I had to carry out on my own. There was some kind of feedback session, where
Tessa pointed me in the direction of an art tour and she also told me to write everything down in some
sort of a plan and that I had to make a cost analysis. It was a very challenging task, because it is not so
simple to come up with a great, original and at the same time feasible idea for an art event. This is also
the reason why I think it would have been better to carry out this task in consultation with someone
who has a bit more experience in that field. Nonetheless, I enjoyed it a lot because, as I am not a
member of a youth or student club, this was something I had never done before and something I would
usually not think about. Thus, this too was a really instructive task.
52
The reason for which ArteFacto chose an event as marketing communication tool is because it is a
great tool to generate free word-of-mouth. In comparison with the Facebook page, though, it will cost
more money, but if it is organized well, it will generate a lot of word-of-mouth and thus, the return on
investment will be substantial. After all, “events can deliver a higher ROI than other strategies due to a
variety of factors such as the highly targeted and also interactive nature of events” (Crowther, 2009, p.
228).
Next to this, the event fits in the marketing communication strategy for a new product or brand,
because this first event will definitely generate brand awareness and brand attitude/knowledge, two
goals that characterize this strategy. But, of course, in other stages in ArteFacto‟s „life‟, an event can
still be used as a marketing communication tool, only then, other goals will be strived after.
3.5 Developing templates
During my internship at ArteFacto, I had to develop several templates. As mentioned before, I
developed templates for emails aimed at companies and artists, but I also developed a template for
letters. This template was created when I had to write a letter to the communication-event agencies (cf.
supra). During this task, I asked whether the company had already a fixed layout for letters,
corresponding to the company‟s corporate design. The answer was: “no, but you may develop this”.
And so I did. The result can be found in annex 13. As you can see, I only used the slogan “Art is a
virtue” here, whereas I mentioned before that I think that “Brings art to people and people to art”
captures the essence of ArteFacto better. I did this for the simple reason that Tessa asked me to remove
the second slogan. On the first draft of this template the second slogan was positioned as on the flyer,
but for a letter, it was too „crowded‟. Maybe when envelopes are developed, they can be provided with
the logo and the second slogan.
Another template I had to create was a standard email to decline an invitation for an exhibition, when
nobody of the company can be present. I wrote this template in Dutch, English and French and in two
formats: a formal, very polite one and a more informal one (see annex 1411
).
The third template that I created is a template to contact companies that participate in the „Open
Bedrijvendag 2010‟. We first contacted the organization of this event, but they asked us to send them a
standard contact email that they could forward to the participating companies. This email can be found
in annex 15. This is, together with the letter for the communication-event agencies, the template with
the clearest characteristics of marketing communication, as it is very persuasive.
11
For each language the more informal version is displayed first.
53
The last templates I had to create, were the templates for the dossiers that have to be submitted in the
case of an application for sponsorship and for subsidy. I first had to look up which conditions have to
be fulfilled to qualify for subsidies, but as this matter is very complicated, the help of a specialist will
be used to get to the bottom of it. Thus, I only had to look up what has to be mentioned in such a
dossier, to create one for ArteFacto. I used my idea for an event as example. The result can be found in
annexes 16 and 17. Obviously, this is not really an example of marketing communication, but as it is a
template, this task could be best categorized here. Next to this, I used the corporate design, which is a
marketing communication tool, in these templates. Thus, even though marketing is not the prime
objective of these dossiers, thanks to the corporate design integrated in it, there is a marketing-side to
them.
Again, these were all tasks I had to carry out on my own, but as usual, I could rely on some feedback.
Even though I can say that this were „little‟ tasks, I enjoyed carrying them out, especially the ones that
involved the „marketing thinking‟. This because it allowed me to put into practice some of the theory
that I learned in the course „Marketing‟. Next to this, I like the idea that I have made something that
will still be used in the future.
The fact that I had to develop templates is a good thing, because this means that the company is taking
its corporate design seriously and that it understands the importance of its corporate design to be
recognizable. And as mentioned several times before, this is very important for any company in its
start-up phase.
3.6 Other tasks
In this section, I will discuss other tasks I had to carry out during my internship, that are not directly
related to the field of marketing communication, or just less relevant for chapter two. These tasks are:
participating in meetings, writing a manual for the upload of documents via the ArteFacto website and
writing a marketing communication plan. The latter is obviously situated in the marketing
communication field, but in fact, I only had to create an overview of all the marketing communication
activities of the company so far. That is why this task is discussed here and not in a separate section.
3.6.1 Participating in meetings
During my internship, I had the opportunity to participate in three meetings. The first meeting took
place in the first week of my internship and was in fact a Board Meeting. Thus, obviously, I did not
54
really contributed to the meeting, but I was assigned to write the report (see annex 18), that will be
used as a checklist at the next Board Meeting. This next Board Meeting was originally scheduled at
the end of my internship, but was then postponed.
The second meeting was a meeting with an artist who was very interested in ArteFacto. During this
meeting Marleen explained to the artist how ArteFacto operates and what is expected from the
members of the organization. For this meeting I had to prepare a file with the ArteFacto flyer and the
house rules of the company. This was something the artist could take home.
The last meeting was the brainstorm session concerning the Metro-project (cf. supra). The report of
this meeting was also written by me and can be found in annex 19. Eventually, Metro‟s favourite
scenario was the first one.
Even though this were rather secondary tasks, I found them interesting, because they were a nice
complement to my internship of last year, where I only experienced meetings in large groups. It is
interesting to see and experience that the atmosphere is completely different in a much smaller group.
3.6.2 Writing a manual for the upload of documents via the ArteFacto website
Because the company does not have an office, it is convenient that all the documents of the company,
such as the flyer, the templates and the standard emails, are available at any time for everyone working
for the company. The best way to achieve this is via online storage. ArteFacto does this via its website
and I had to write a manual for this. The result can be found in annex 20. Obviously, for privacy
issues, the login and the password have been left blank.
This was a less instructive task, as I already knew how to write a manual and because it was a task that
took me only ten minutes. Nonetheless, I believe it is always useful to have a manual for this kind of
things, because this can come in handy for future interns. With this manual, these interns can upload
their documents without Marleen, Tessa or Koenraad having to explain every single step.
3.6.3 Writing a marketing communication plan
As mentioned earlier, I did not really have to write a marketing communication plan. In fact, I had to
create an overview of all the marketing communication activities of the company so far. But instead of
just summing up these activities, I provided some theory as well, as can be seen in annex 21. This
way, the plan can still be used in the future.
55
As you can see, I started with the identification of the target audiences of ArteFacto‟s communication:
art lovers, artists and companies. Secondly, I summed up the goals of the communication: category
need, brand awareness, brand attitude/knowledge and purchase intention (cf. supra). Next, I tried to
identify the message ArteFacto wants to send out. In this start-up phase, this is „who‟ ArteFacto is and
what it does and especially, what ArteFacto can do for its target audiences. Here I also pointed out the
importance of a consistent corporate design. Then, I made a little list of which communication
activities ArteFacto has already undertaken and I left some space for an indication of what each
activity costs. Fifthly, the communication mix is identified: the event, direct marketing and personal
contacts. Lastly, I did some suggestions of activities that can be undertaken, like the „Facebook button‟
on the website, which is an advice the company acted upon (cf. supra). At the end of the plan, there is
an open space that should be used to write down the results of each and every marketing
communication activity.
3.6.4 Other tasks: conclusion
To conclude this section, I can say that, even though these tasks were not always very exciting, I am
glad to have had the opportunity to carry them out. This because they made me realize that not every
task can be a big exciting project. Some tasks just have to be done, that is a part of the job and a reality
in life. This way, these tasks were instructive too.
3.7 Conclusion
To conclude this chapter, I can say that I had to carry out a wide range of tasks, most of them situated
in the field of marketing communication. All these tasks are a good illustration of the marketing
communication strategy that is used in the case of a new product or brand, such as ArteFacto. Most of
the mentioned tasks had as objective to communicate to the target audiences what ArteFacto stands for
and what it has to offer them. Next to this, as everything was „homemade‟, the costs of the marketing
communication via these tools were limited, which is another characteristic of this kind of strategy.
After reading this chapter it becomes clear that I had to design and make a flyer that can be used as an
extra tool in the personal selling. Next to this, I carried out a variety of direct marketing tasks, such as
sending direct mail to artists or telemarketing in the case of the communication-event agencies.
Thirdly, I had to update the ArteFacto Facebook page, which has a lot of potential to generate Internet
word-of-mouth and I had to come up with an idea for an event, which is a great way to generate
conventional word-of-mouth. I also had to develop some templates, in order to standardize the
56
company‟s communication and develop a consistent corporate design. In addition, I carried out several
„other‟ tasks, that were not directly related to marketing communication, such as developing a manual
for the upload of documents via the website.
During my internship, I had to carry out most of the tasks on my own, but I always received good and
constructive feedback. This made the tasks in every way very instructive. The most important thing I
learned was the „marketing-way-of-thinking‟. I had learned a lot of theory in the course „Marketing‟
this academic year, but it was very interesting to put this theory into practice and to really have to
think like a marketer, because it is one thing to learn theory, but it is another thing to try to put it into
practice.
57
4 Conclusions
In this chapter I will give an overview of the things I learned – both at the human level and
professionally – during my internship. Next to this, I will briefly discuss the aspects of the MTB-
program that I could use to carry out the tasks assigned to me. Lastly, I will point out how my
internship at ArteFacto changed my perception of the MTB-program and how, according to me, the
program can be made even better, based on the experience I gathered during my internship at
ArteFacto.
As I had a lot of responsibility and as I had to work on my own most of the time, one of the important
things I learned, professionally, was taking more initiative and actively asking for feedback. Because
there was not always someone around, sometimes I had to make decisions on my own about how I
needed to handle a certain task or situation. I consider this as a valuable experience for me, as I
normally feel more comfortable when people tell me what to do and I just have to follow their orders.
Thus, my internship at ArteFacto made me more confident to take initiative and I became less „afraid‟
to ask for feedback, especially because the feedback was always very constructive and useful.
Also the fact that I had to work from home every Wednesday was something that I found very
interesting. I knew already that I had a lot of discipline, for instance to study, but now I learned that I
can use this discipline professionally too. The only problem here was that I found it difficult to stop
working. I constantly checked my emails, even after 17h, and if I had received one, I immediately
wanted to do what was asked from me. Also the fact that I had to use my own laptop – on which I had
to save all my documents – at the office, tempted me to keep on working outside the office hours, as I
took my laptop home with me every evening.. Thus, every evening I took my work home. This is
something I will definitely have to keep in mind in the future, namely to clearly make the distinction
between home and the office.
Next to this, the fact that ArteFacto is a small non-profit organization in its start-up phase, allowed me
to learn a lot about how a non-profit organization works and also that it is not always easy to do the
things your company wants or needs when there is not a lot of money available. I also learned a thing
or two about the subsidy arrangement for non-profit organizations, even though this is a very
complicated matter. In addition, it was very instructive to work in such a small team. As mentioned in
chapter three, the team at my internship of last year was a lot bigger. There, I had to work with about
fifteen colleagues, and thus, the atmosphere was this year completely different. Because of the small
team, it also felt like I had more individual responsibility and thus, I learned how to deal with this kind
of responsibility.
58
As the most important tasks I had to carry out during my internship were related to the field of
marketing communication, and the only contact I had had with marketing so far was via the course
„Marketing‟, of course, I learned a lot on this matter too. During my internship, I really learned what
the „marketing-way-of-thinking‟ is, because I had to think, speak and act like a real marketer. The
tasks I had to carry out allowed me to put the theory into practice and showed me that it is not always
that simple for a non-profit organization in its start-up phase to promote itself, due to a limited budget.
This way, I learned that sometimes you need to be creative to come up with good marketing ideas that
do not require a lot of money to be implemented. This creative part of the job was something I really
enjoyed.
Though, I should note here that, notwithstanding the fact that I enjoyed the tasks I had to carry out and
that I tried to carry them out the best possible way I could, I do not want to pursue a career in
Marketing. At least, this is not something I would want to do every day. On the other hand, working in
a small company/team is something that did – and still does – appeal to me. I now know for sure that I
do not want to work for a big multinational, but that I prefer to keep it rather small-scale.
Now that I have discussed the things I learned professionally, I believe it is time to move on to the
things I learned at the human level. I can say that this internship has learned me to be more self-
confident. Because I had to work so much on my own, I really learned to be more confident about the
things I do. This is also one of the reasons why I chose this internship. I already knew that I am a
person with not a lot of self-confidence and as Marleen and Tessa told me that I would have to work
alone most of the time, I realized that this was a big opportunity for me. And looking back at the
internship, I am very glad to have seized this opportunity.
Let us now take a look at which aspects of the MTB-program I used to perform well. During my
internship, I could use a lot aspects from the MTB-program to carry out my tasks as good as possible.
First of all, the fact that the MTB-program consists of a lot of different courses, tasks and projects, has
learned me to juggle with many different tasks at the same time, which is something I also needed to
do during my internship. Thanks to the MTB-program, I learned how to deal with this kind of
situations and this definitely prevented me from panicking when things got a little hectic. MTB
learned me to deal with one task at a time and it also learned me to carry out tasks in a more efficient
way. This is something that did not only help me to perform well during my internship: I strongly
believe that this is a skill that will come in handy in any kind of job or career. Thus, even though we
often complained about the many tasks and projects and the long days during the MTB-program, I
think this prepared us for the „real deal‟, better than our former studies at university possibly could.
Thus, this is definitely a real plus point of the MTB-program.
59
A more explicit aspect of the MTB-program that helped me to perform well during my internship was
of course the fact that the program allowed me to refresh and improve my knowledge of English and
French. This definitely helped me to bring the tasks that involved translations to a good end. The
MTB-program helped me to become more confident to use English and French. Again this is
something that not only helped me during my internship, but that will definitely also help me later on
in my career. I should note here that it became clear during my internship that my French could still
use some improvement. Thus, this is something I will need to pay some more attention to.
Nonetheless, the abundance of languages is another important plus point of the MTB-program.
Another explicit and important aspect of the MTB-program that helped me to perform well during my
internship, was of course the fact that the program includes the course „Marketing‟. This for the
obvious reason that my most important tasks were related to the field of marketing communication.
Also some of the guest lectures on external communication provided knowledge that I could use to
carry out my tasks. But, here I can also point out an aspect of the MTB-program that could be
improved. This year, all the guest lectures dealt with big companies or organizations, except for maybe
one or two. Thus, this did not allow us to learn a lot about, for instance, non-profit organizations and
the difficulties they have to deal with. In addition, the guest lecturers were all representatives of
established companies and thus, we did not gain any insight in how a company or organization in its
start-up phase operates. This is definitely something I would try to integrate in the MTB-program too.
Nonetheless, as I had the opportunity to do my internship at a non-profit organization in its start-up
phase, this is a gap that I was able to overcome.
Another thing that, according to me, could improve the program is to make a better selection of the
guest lecturers and the company visits. This because, this year, some guest lectures and company visits
were irrelevant and in fact a complete waste of time. To give an example of a guest lecture that did not
really provide us with knowledge that we in any way will be able to use, is the guest lecture of the
„Mortierbrigade‟. The guest lecturer only presented his company, told us how good the company really
is, etc. Next to this, we watched a few videos that everyone already had seen. To give an example of a
company visit that was irrelevant: the company visit to Shell. During the presentation, they
overwhelmed us with technical details on how the factories of Shell work and how oil is refined. We
were told nothing about the company‟s communication and even though the „company tour‟ was
interesting, it was completely irrelevant to us, because it was in fact a „factory tour‟ that had nothing to
do with business communication. Thus, I would suggest to make sure that the guest lectures and the
company visits learn the students relevant things, that can possibly be implemented during an
internship. After all, quality goes above quantity. Maybe it could be a good idea to reduce the amount
of guest lectures and company visits and to arrange, for instance, more possibilities to improve our
60
„minor‟ language, or even, for students who did not study languages before, to improve their „major‟
language. This could, for example, facilitate the writing of the dissertation in this language.
To conclude this chapter, I want to say that, even though this was a tough year, with a lot of hard work
and many tasks and projects, I am really glad to have followed the MTB-program. During this year I
have learned a lot, I have met a lot of people and I believe that I am now better prepared to begin a
career than a year ago. Next to this, I am very satisfied that I have had the opportunity to do my
internship at ArteFacto. It was a very instructive experience and it was a very nice complement to the
MTB-program. In other words, even though there are small aspects of the MTB-program that can be
improved, I do not have any regret to have followed it, on the contrary.
61
5 Bibliography
5.1 Books
Blakeman, R. (2007). Integrated marketing communication. Creative strategy. From idea to
implementation. USA: Rowman & Littlefield Publishers, Inc.
Décaudin, J.M. (1999). La communication marketing. Concepts, techniques, strategies (2nd
ed.). Paris:
Economica.
Floor, J.M.G. & van Raaij, W.F. (2006). Marketingcommunicatiestrategie (5th ed.).
Groningen/Houten: Wolters-Noordhoff bv.
Kotler, P.; Keller, K.L.; Robben, H. & Geuens, M. (2008). Marketing management. De essentie (3rd
ed.). Amsterdam: Pearson Education Benelux BV.
Rossiter, J.R. & Percy, L. (1987). Advertising and promotion management. New York: McGraw-Hill.
Smith, P.R. & Taylor, J. (2004). Marketing communications. An integrated approach (4th ed.). UK:
Kogan Page.
Varey, J.R. (2002). Marketing communication. Principles and practice. London: Routledge.
5.2 Articles
Arnold, M.J. & Tapp, S.R. (2003). Direct marketing in non-profit services: investigating the case of
the arts industry. Journal of Services Marketing, 17 (2), pp. 141-160.
Bhatnagar, A.; Misra, S. & Raghav Rao, H. (2000). On risk, convenience and Internet shopping
behavior. Communications of the ACM, 43 (11), pp. 98-105.
Crowther, P. (2009). Strategic application of events. International Journal of Hospitality Management,
29 (2), pp. 227-235.
Emerald Group Publishing Limited (2009). Profiting from the best of both worlds. NPOs find ways to
make more impact. Strategic Direction, 25 (2), pp. 19-22.
Hasouneh, A.B.I. & Alqeed, M.A. (2010). Measuring the effectiveness of e-mail direct marketing in
building customer relationship. International Journal of Marketing Studies, 2 (1), pp. 48-64.
62
Kozinets, R.V. ; de Valck, K.; Wojnicki, A.C. & Wilner, S.J.S. (2010). Networked narratives:
understanding word-of-mouth. Marketing in online communities. Journal of Marketing, 74 (2), pp. 71-
89.
Marchand, J. & Lavoie, S. (1998). Non-profit organizations‟ practices and perceptions of advertising:
implications for advertisers. Journal of Advertising Research, 38 (4), pp. 33-40.
Pfeiffer, M. & Zinnbauer, M. (2010). Can old media enhance new media? How traditional advertising
pays off for an online social network. Journal of Advertising Research, 50 (1), pp. 42-49.
van der Horst, J.A.J. (2002). Marketing een wondermiddel voor non profit organisaties? Consulted the
15th of July, 2010 on the World Wide Web:
http://www.vrijwilligersbaarn.nl/public/Document/201/file/communicatie%20marketing%20voor%20
non%20profit%20organisaties.pdf
5.3 Websites
Advertorial.org (2008, February 19th). What is an advertorial? Consulted on the 10
th of July, 2010 on
the World Wide Web: http://www.advertorial.org/what-is-an-advertorial.html
Art Gallery (n.d.). Welkom bij art-gallery.be. consulted on the 24th of June, 2010 on the World Wide
Web: http://www.art-gallery.be/nl/
Kunst In Huis (2010, July 7th). Welkom bij Kunst in Huis. Consulted on the 24
th of June, 2010 on the
World Wide Web: http://www.kunstinhuis.be/
Lemento nv (n.d.). Corporate Communication. Consulted the 26th of June, 2010 on the World Wide
Web: http://www.lemento.com/nl/corporate_communication/corporate_communication.asp.
NetGallery (n.d.). NetGallery.be. Consulted on the 24th of June, 2010 on the World Wide Web:
http://www.netgallery.be/
Noordhoff Uitgevers (n.d.). Marketingcommunicatiestrategie. Consulted the 15th of July, 2010 on the
World Wide Web: http://www.marketingcommunicatiestrategie.wolters.nl/
GHENT UNIVERSITY
FACULTY OF ARTS AND PHILOSOPHY
“Getting the show on the road” –
A case study on the marketing communication during the start-up phase of the non-
profit organization ArteFacto.
Annexes
Lien Ver Eecke
A DISSERTATION SUBMITTED IN PARTIAL FULFILLEMENT OF THE
REQUIREMENTS FOR THE DEGREE OF MASTER IN MULTILINGUAL BUSINESS
COMMUNICATION
SUPERVISOR:
Dr. Ellen Van Praet
ACADEMIC YEAR 2009 – 2010
2
Annex 1: Internship offer ArteFacto ....................................................................................................... 4
Annex 2: Application email .................................................................................................................... 5
Annex 3: Article on ArteFacto in „Bizz-magazine‟ (April 2010, pp. 108-109) ...................................... 6
Annex 4: Flyer aimed at companies ........................................................................................................ 8
Annex 4a: Flyer – Dutch ......................................................................................................................... 8
Annex 4b: Flyer – English ....................................................................................................................... 9
Annex 4c: Flyer – French ...................................................................................................................... 10
Annex 5: Flyer aimed at artists .............................................................................................................. 11
Annex 5a: Flyer – Dutch ....................................................................................................................... 11
Annex 5b: Flyer – English ..................................................................................................................... 12
Annex 5c: Flyer – French ...................................................................................................................... 13
Annex 6: Contact email aimed at contacts in the business world ......................................................... 14
Annex 7: Contact email aimed at artists ................................................................................................ 17
Annex 8: Contact letter communication-event agencies ....................................................................... 20
Annex 9: Excerpt database communication-event agencies .................................................................. 21
Annex 10: Contact email aimed at Flemish art schools ........................................................................ 22
Annex 11: Event plan ............................................................................................................................ 23
3
Annex 12: Event cost analysis ............................................................................................................... 25
Annex 13: Template letters ................................................................................................................... 26
Annex 14: Email to decline an invitation .............................................................................................. 27
Annex 15: Email „Open Bedrijvendag 2010‟ ........................................................................................ 29
Annex 16: Template dossier application sponsorship ........................................................................... 30
Annex 17: Template dossier application subsidy .................................................................................. 33
Annex 18: Report Board Meeting ......................................................................................................... 36
Annex 19: Report meeting Metro-project ............................................................................................. 38
Annex 20: Manual for the upload of documents via the website .......................................................... 39
Annex 21: Marketing communication plan ArteFacto .......................................................................... 40
4
Annex 1: Internship offer ArteFacto
ArteFacto is een nieuwe vzw en heeft als doel om kunst uit alle mogelijke disciplines toegankelijk te
maken voor een breed publiek door ervaren én jonge kunstenaars te stimuleren via een professioneel
verkoopsplatform. Wij promoten de kunst van onze leden (kunstenaars) in de eerste plaats via onze
website, maar ook via tal van andere kunstgerelateerde activiteiten.
In deze opstartfase zijn wij op zoek naar een stagiair die de marketing- en communicatie-activiteiten
zal ondersteunen :
- concurrentieonderzoek
- marketing en communicatie naar kunstminnaars
- bedrijfsgerichte activiteiten uitwerken
- organisatie event(s)
Hou je van kunst en wil je graag meehelpen aan de uitbouw van onze vzw, stuur dan je motivatie en
cv naar [email protected].
We nemen dan snel contact met je op om de mogelijkheden van de stage meer in detail te bespreken !
Groeten en alvast bedankt !
Marleen Coppens
Rara Avis
Out of the Box HR Consultancy
Jan van Hembysebolwerk 1
B-9000 Ghent - Belgium
VG 878/B - VG.878/BO - B-AB07.015
T: +32 (0)9 270 13 61
M : +32 (0)495 64 38 28
email : [email protected]
website : www.raraavis.be
5
Annex 2: Application email
Beste,
Mijn naam is Lien Ver Eecke en ik ben een studente Master na Master Meertalige
Bedrijfscommunicatie aan de universiteit van Gent. In bijlage kan u een korte beschrijving van deze
opleiding terugvinden. In het kader van deze opleiding moet ik een verplichte stage lopen vanaf 26
april voor een periode van minimaal 5 weken. Deze stage is een verplichte, onbezoldigde, stage zonder
de welke het onmogelijk is om het diploma te behalen. In bijlage kan u een document terugvinden met
uitleg omtrent het concept stage in het kader van Meertalige Bedrijfscommunicatie. Voor de duur van
de stage zijn de studenten verzekerd door de universiteit en de universiteit beschikt zelf over een
standaard stagecontract. Zowel van het verzekeringsdocument als van het contract kan u een voorbeeld
terugvinden in bijlage. Ook mijn cv kan u daar terugvinden.
Ik kreeg jullie stageaanbod doorgestuurd via mail van Luc De Bie en afgaande op de functie-inhoud
lijkt het mij een zeer interessante ervaring. Vooral communicatie in een culturele/kunst context spreekt
mij erg aan. De stage zou een perfecte aanvulling vormen op mijn vorige opleiding
(Communicatiewetenschappen), alsook op mijn huidige opleiding. Indien u nog op zoek bent naar een
stagiair vanaf 26 april voor een periode van 5 weken, stel ik mij dus graag kandidaat. Indien u
geïnteresseerd bent, kan ik gerust eens langskomen voor een gesprek.
Met vriendelijke groeten,
Lien Ver Eecke
Kunstsmedenlaan 1b
8500 Kortrijk
Tel.: 0479 52 42 96
e-mail: [email protected]
6
Annex 3: Article on ArteFacto in „Bizz-magazine‟ (April 2010, pp.
108-109)
7
8
Annex 4: Flyer aimed at companies
Annex 4a: Flyer – Dutch
Art is a virtue
brings art to people & people to art
Wie is ArteFacto?
ArteFacto vzw is een jong en
dynamisch bedrijf, opgericht door drie
vrienden die dezelfde passie delen:
Kunst. Het doel van ArteFacto is
kunstenaars ondersteunen om
doelgerichter hun kunstwerken te
verkopen.
ArteFacto wil betaalbare én
kwaliteitsvolle hedendaagse kunst
toegankelijk maken voor een breed
kunstminnend publiek.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Wilt u ons beter leren kennen?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tel.: +32(0)491 02 23 02
E-mail: [email protected]
Website: www.artefacto.be
Wat kan ArteFacto betekenen voor uw bedrijf?
Naar particulieren toe stellen we een uitgebreid aanbod
van kunst voor via de website, www.artefacto.be, maar
ook uw bedrijf kan ArteFacto inschakelen voor een
waaier aan activiteiten:
Een “Art & Values” programma om de bedrijfs-
waarden te promoten binnen de organisatie.
Door kunstenaars begeleide team building evene-
menten.
Kunstworkshops voor werknemers en hun gezin
tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lance-
ren of om de branding te bevorderen.
Een origineel “art-on-demand” kunstwerk voor
gewaardeerde klanten en business partners.
Unieke geschenken voor het personeel bij speciale
gelegenheden (pensioen, huwelijk,…).
Activiteiten aangepast aan de wensen van uw be-
drijf.
Wie zijn de kunstenaars?
Enkele van de kunstenaars die lid zijn van ArteFacto
zijn Matthew Crasner, Sylvie Muzard, Olivier Paul,
Kaarin Poppe, Helga Renders, Helen Tyrrell en
Marloes Wijtsma. De kunstenaars zijn van alle
leeftijden en afkomstig uit verschillende landen, wat
zorgt voor diverse culturele invloeden in ArteFacto’s
kunstaanbod.
Iedere kunstenaar heeft een opleiding afgerond aan
een erkende kunstacademie en/of een mooi artistiek
trackrecord opgebouwd.
9
Annex 4b: Flyer – English
Art is a virtue
brings art to people & people to art
Who is ArteFacto?
The non-profit organization ArteFacto
is a young and dynamic company,
founded by three friends who share
the same passion: Art. ArteFacto’s
goal is to support artists who wish to
sell their art in a more targeted way.
ArteFacto wants to make
contemporary, affordable and quality
art accessible to a wide public of art
lovers.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Interested in getting to know us better?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tel.: +32(0)491 02 23 02
E-mail: [email protected]
Website: www.artefacto.be
What has ArteFacto to offer to your company?
As an individual art buyer, ArteFacto presents a diverse
range of art via the website, www.artefacto.be, but
ArteFacto also presents a number of innovative
activities for companies:
An ―Art & Values‖ program to promote your com-
pany values within the organization.
Artist led teambuilding events.
Art workshops for employee family-days.
Art exhibitions as marketing events.
Art consultancy & advice on how to improve your
business environment through art.
Art competitions to promote new products and
branding
―Art-on-demand‖: original design gifts for valued
clients & business partners.
Unique and valued gifts to personnel (at retire-
ment, x-year seniority, wedding).
Activities adapted to the wishes of your
company.
Who are the artists?
Artist members of ArteFacto include Matthew
Crasner, Sylvie Muzard, Olivier Paul, Kaarin Poppe,
Helga Renders, Helen Tyrrell and Marloes Wijtsma.
These artists – both emerging and established, come
from various countries and reflect a wide range of
cultural influences in their art.
Every artist selected by ArteFacto holds a recognised
qualification and/or a proven artistic experience.
10
Annex 4c: Flyer – French
Art is a virtue
brings art to people & people to art
Qui est ArteFacto?
ArteFacto asbl est une société jeune et
dynamique, fondée par trois amis qui
partagent la même passion : l’art. Le
but d’ArteFacto est de soutenir des
artistes pour vendre leurs œuvres
d’une façon plus ciblée.
ArteFacto veut rendre accessible, à un
prix abordable, des œuvres
contemporaines de qualité à un large
public d’amateurs d’art.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Êtes-vous intéressé à mieux nous connaître?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tél.: +32(0)491 02 23 02
E-mail: [email protected]
Site web: www.artefacto.be
Qui sont les artistes?
Quelques artistes, membre d’ArteFacto, sont Matthew
Crasner, Sylvie Muzard, Olivier Paul, Kaarin Poppe,
Helga Renders, Helen Tyrrell et Marloes Wijtsma. Les
artistes sont de tous âges et originaires de différents
pays. De cette façon ArteFacto peut offrir des pièces
d’art avec une grande diversité d’influences
culturelles.
Chaque artiste possède une formation complète et
est issu d’une académie officiellement reconnue
et/ou se prévaut d’un parcours d’artiste reconnu.
Qu’est-ce que ArteFacto peut offrir à votre
entreprise?
Pour des personnes privées nous présentons un large
éventail d’art par le biais du site, www.artefacto.be.
Mais aussi votre entreprise peut faire appel à une de
nos diverses activités:
Le programme “Art et des Valeurs” vous aide à
promouvoir vos valeurs d’entreprise au sein de
l’organisation (existante ou fusionnée).
Des événements de team building soutenus par des
artistes.
Des ateliers d’art mis sur pied pour les employés et
leurs familles au cours des journées de famille.
Des expositions artistiques pour vos clients.
Des concours artistiques visant à promouvoir de
nouveaux produits et l’image de votre marque.
“Art-sur-demande”: des cadeaux originaux pour vos
clients importants et vos relations d’affaires.
Des cadeaux uniques pour le personnel lors d’
occasions spéciales (partir à la retraite, mariage, etc.).
Des activités adaptées aux souhaits de votre
entreprise
11
Annex 5: Flyer aimed at artists
Annex 5a: Flyer – Dutch
Art is a virtue
brings art to people & people to art
Wie is ArteFacto?
ArteFacto vzw is een jong en
dynamisch bedrijf, opgericht door drie
vrienden die dezelfde passie delen:
Kunst. Het doel van ArteFacto is
kunstenaars ondersteunen om
doelgerichter hun kunstwerken te
verkopen.
ArteFacto wil betaalbare én
kwaliteitsvolle hedendaagse kunst
toegankelijk maken voor een breed
kunstminnend publiek.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Wat doet ArteFacto?
Naar particulieren toe stellen we een uitgebreid aanbod
van kunst voor via de website, www.artefacto.be, maar
ook bedrijven kunnen ArteFacto inschakelen voor een
waaier aan activiteiten:
Een “Art & Values” programma om de bedrijfs-
waarden te promoten binnen de organisatie.
Door kunstenaars begeleide team building evene-
menten.
Kunstworkshops voor werknemers en hun gezin
tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lance-
ren of om de branding te bevorderen.
Een origineel “art-on-demand” kunstwerk voor
gewaardeerde klanten en business partners.
Unieke geschenken voor het personeel bij speciale
gelegenheden (pensioen, huwelijk,…).
Activiteiten aangepast aan de wensen van het be-
drijf.
Wie zijn onze kunstenaars?
Enkele van de kunstenaars die lid zijn van ArteFacto
zijn Matthew Crasner, Sylvie Muzard, Olivier Paul,
Kaarin Poppe, Helga Renders, Helen Tyrrell en
Marloes Wijtsma. De kunstenaars zijn van alle
leeftijden en afkomstig uit verschillende landen, wat
zorgt voor diverse culturele invloeden in ArteFacto’s
kunstaanbod.
Iedere kunstenaar heeft een opleiding afgerond aan
een erkende kunstacademie en/of een mooi artistiek
trackrecord opgebouwd.
Wilt u ons beter leren kennen?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tel.: +32(0)491 02 23 02
E-mail: [email protected]
Website: www.artefacto.be
12
Annex 5b: Flyer – English
Art is a virtue
brings art to people & people to art
Who is ArteFacto?
The non-profit organization ArteFacto
is a young and dynamic company,
founded by three friends who share
the same passion: Art. ArteFacto’s
goal is to support artists who wish to
sell their art in a more targeted way.
ArteFacto wants to make
contemporary, affordable and quality
art accessible to a wide public of art
lovers.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Interested in getting to know us better?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tel.: +32(0)491 02 23 02
E-mail: [email protected]
Website: www.artefacto.be
What has ArteFacto to offer?
As an individual art buyer, ArteFacto presents a diverse
range of art via the website, www.artefacto.be, but
ArteFacto also presents a number of innovative
activities for companies:
An ―Art & Values‖ program to promote the com-
pany values within the organization.
Artist led teambuilding events.
Art workshops for employee family-days.
Art exhibitions as marketing events.
Art consultancy & advice on how to improve the
business environment through art.
Art competitions to promote new products and
branding
―Art-on-demand‖: original design gifts for valued
clients & business partners.
Unique and valued gifts to personnel (at retire-
ment, x-year seniority, wedding).
Activities adapted to the wishes of the
company.
Who are the artists?
Our members include Matthew Crasner, Sylvie
Muzard, Olivier Paul, Kaarin Poppe, Helga Renders,
Helen Tyrrell and Marloes Wijtsma. These artists –
both emerging and established, come from various
countries and reflect a wide range of cultural
influences in their art.
Every artist selected by ArteFacto holds a recognised
qualification and/or a proven artistic experience.
13
Annex 5c: Flyer – French
Art is a virtue
brings art to people & people to art
Qui est ArteFacto?
ArteFacto asbl est une société jeune et
dynamique, fondée par trois amis qui
partagent la même passion: l’art. Le
but d’ArteFacto est de soutenir des
artistes pour vendre leurs œuvres
d’une façon plus ciblée.
ArteFacto veut rendre accessible, à un
prix abordable, des œuvres
contemporaines de qualité à un large
public d’amateurs d’art.
Tessa De Buysere
Koenraad Goris &
Marleen Coppens
Qu’est-ce que ArteFacto fait?
Pour des personnes privées nous présentons un large
éventail d’art par le biais du site, www.artefacto.be.
Mais aussi des entreprises peuvent faire appel à une de
nos diverses activités:
Le programme “Art et des Valeurs” aide à promouvoir
les valeurs d’entreprise au sein de l’organisation
(existante ou fusionnée).
Des événements de team building soutenus par des
artistes.
Des ateliers d’art mis sur pied pour les employés et
leurs familles au cours des journées de famille.
Des expositions artistiques pour les clients
Des concours artistiques visant à promouvoir de
nouveaux produits et l’image de votre marque.
“Art-sur-demande”: des cadeaux originaux pour les
clients importants et les relations d’affaires.
Des cadeaux uniques pour le personnel lors d’
occasions spéciales (départ à la retraite, mariage,
etc.).
Des activités adaptées aux souhaits de l’entreprise.
Qui sont nos artistes?
Nos membres sont entre autre Matthew Crasner,
Sylvie Muzard, Olivier Paul, Kaarin Poppe, Helga
Renders, Helen Tyrrell et Marloes Wijtsma. Les artistes
sont de tous âges et originaires de différents pays. De
cette façon ArteFacto peut offrir des pièces d’art avec
une grande diversité d’influences culturelles.
Chaque artiste possède une formation complète et
est issu d’une académie officiellement reconnue
et/ou se prévaut d’un parcours d’artiste reconnu.
Êtes-vous intéressé à mieux nous connaître?
ArteFacto vzw—Hollebeekpark 6A—9820 Merelbeke
Tél.: +32(0)491 02 23 02
E-mail: [email protected]
Site web: www.artefacto.be
14
Annex 6: Contact email aimed at contacts in the business world
English version below
Version Francophone ci-dessous
Beste,
Recent richtten wij – Marleen Coppens, Tessa De Buysere en Koenraad Goris – de vzw
ArteFacto op. Deze vereniging wil kunstenaars ondersteunen door hedendaagse, betaalbare
én kwaliteitsvolle kunst toegankelijk maken voor een breed publiek van kunstminnaars.
ArteFacto doet dit door kunst met de bedrijfswereld te verenigen op een manier die gunstig
is voor beide partijen en dit via een waaier aan innovatieve activiteiten:
Een "Art & Values" programma om de bedrijfswaarden te promoten binnen de
(bestaande of gefuseerde) organisatie.
Door kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te
bevorderen.
Het ontwerp van een origineel “art-on-demand” kunstwerk voor gewaardeerde
klanten en business partners.
Unieke geschenken aan personeel bij speciale gelegenheden (pensioen, vertrek
expats, huwelijk, etc.).
We nodigen u graag uit om een kijkje te nemen op www.artefacto.be, waar u kan genieten
van een bezoek aan de virtuele galerij, die een online selectie van kunst aanbiedt, zowel voor
bedrijven als voor particulieren. Daar kan u zich eveneens registreren en dan wordt u op de
hoogte gehouden van onze activiteiten.
Bent u geïnteresseerd om ons te ontmoeten? Aarzel dan niet om een mailtje te sturen naar
[email protected] en wij contacteren u zo snel mogelijk.
In bijlage kan u een artikel vinden dat over ArteFacto is verschenen in Bizz Magazine.
Met vriendelijke groeten,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
15
Dear Sir, dear Madam,
Recently Marleen Coppens, Tessa De Buysere and Koenraad Goris founded the non-profit
organization ArteFacto. This organization wants to support artists by offering contemporary,
affordable and quality art to a wide public of art lovers.
ArteFacto brings art and business together in an original manner to benefit both parties
through a range of innovative activities:
An “Art & Values” program helps you to promote your company values within an
(existing or merged) organization.
Artist led and inspired teambuilding events designed for management and
leadership programmes.
Art workshops for employee family-days.
Art exhibitions as marketing events.
Art competitions to promote new products and branding.
“Art-on-demand”: original design gifts for valued clients & business partners.
Unique and valued gifts to personnel (at retirement; x-year seniority, wedding).
We would like to invite you to take a look at www.artefacto.be, where you can enjoy a visit to
our virtual gallery which offers an online selection of art for companies as well as for private
collectors. You may also register to our website, this way we can keep you informed on our
activities.
Are you interested in meeting us? Please, send an email to [email protected] and we will
contact you a.s.a.p.
Please find enclosed an article that appeared on ArteFacto in Bizz Magazine.
Yours sincerely,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
16
Cher Monsieur, Chère Madame
Récemment, Marleen Coppens, Tessa De Buysere et Koenraad Goris ont fondé l‟asbl
ArteFacto. Cette association a comme but de soutenir des artistes en proposant, à un prix
abordable, des œuvres contemporaines de qualité à un large public d'amateurs d'art par le
biais du monde de l‟entreprise.
ArteFacto réunit ainsi pour leur bénéfice mutuel le monde des affaires et de la culture à
travers un éventail de nouvelles activités d‟une grande originalité.
Le programme “Art et Valeurs” vous aide à promouvoir les valeurs de votre entreprise
au sein de l‟organisation (existante ou fusionnée).
Des événements de teambuilding soutenus par des artistes.
Des ateliers d‟art mis sur pied pour les employés et leurs familles au cours des
journées des familles.
Des expositions artistiques permettant de faire du marketing événementiel.
Des concours artistiques visant à promouvoir de nouveaux produits et votre image de
marque.
“Art-sur-demande” : des cadeaux originaux pour vos clients importants et vos
relations d‟affaires.
Des cadeaux uniques pour le personnel lors d„occasions spéciales (départ à la
retraite, mariage, etc.).
Nous vous invitons à visiter notre galerie virtuelle www.artefacto.be qui offre une sélection
d‟œuvres destinées tant aux entreprises qu‟aux collectionneurs privés. Vous pouvez
également vous enregistrer sur notre site afin d‟être tenus au courant de nos activités.
Vous désirez nous rencontrer ? N‟hésitez pas à envoyer un message à [email protected] et
nous vous contacterons aussi vite que possible.
Ci-joint, vous pourrez trouver un article sur ArteFacto paru dans Bizz Magazine.
Cordialement,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
17
Annex 7: Contact email aimed at artists
English version below
Version Francophone ci-dessous
Beste,
Recent richtten wij – Marleen Coppens, Tessa De Buysere en Koenraad Goris – de vzw
ArteFacto op. Deze vereniging wil kunstenaars ondersteunen door hedendaagse, betaalbare
én kwaliteitsvolle kunst toegankelijk maken voor een breed publiek van kunstminnaars.
ArteFacto doet dit door kunst met de bedrijfswereld te verenigen op een manier die gunstig
is voor beide partijen en dit via een waaier aan innovatieve activiteiten:
Door kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Het ontwerp van een origineel “art-on-demand” kunstwerk voor gewaardeerde
klanten en business partners.
Enz.
We nodigen u graag uit om een kijkje te nemen op www.artefacto.be, waar u kan genieten
van een bezoek aan de virtuele galerij, die een online selectie van kunst aanbiedt, zowel voor
bedrijven als voor particulieren.
Bent u geïnteresseerd om ons te ontmoeten? Aarzel dan niet om een mailtje te sturen naar
[email protected] en wij contacteren u zo snel mogelijk.
In bijlage kan u een artikel vinden dat over ArteFacto is verschenen in Bizz Magazine.
Met vriendelijke groeten,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
18
Dear Sir, dear Madam,
Recently Marleen Coppens, Tessa De Buysere and Koenraad Goris founded the non-profit
organization ArteFacto. This organization wants to support artists by offering contemporary,
affordable and quality art to a wide public of art lovers.
ArteFacto brings art and business together in an original manner to benefit both parties
through a range of innovative activities:
Artist led and inspired teambuilding events designed for management and
leadership programmes.
Art workshops for employee family-days.
Art exhibitions as marketing events.
“Art-on-demand”: original design gifts for valued clients & business partners.
Enz.
We would like to invite you to take a look at www.artefacto.be, where you can enjoy a visit to
our virtual gallery which offers an online selection of art for companies as well as for private
collectors.
Are you interested in meeting us? Please, send an email to [email protected] and we will
contact you a.s.a.p.
Please find enclosed an article that appeared on ArteFacto in Bizz Magazine.
Yours sincerely,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
19
Cher Monsieur, Chère Madame
Récemment, Marleen Coppens, Tessa De Buysere et Koenraad Goris ont fondé l‟asbl
ArteFacto. Cette association a comme but de soutenir des artistes en proposant, à un prix
abordable, des œuvres contemporaines de qualité à un large public d'amateurs d'art par le
biais du monde de l‟entreprise.
ArteFacto réunit ainsi pour leur bénéfice mutuel le monde des affaires et de la culture à
travers un éventail de nouvelles activités d‟une grande originalité.
Des événements de teambuilding soutenus par des artistes.
Des ateliers d‟art mis sur pied pour les employés et leurs familles au cours des
journées des familles.
Des expositions artistiques permettant de faire du marketing événementiel.
“Art-sur-demande” : des cadeaux originaux pour vos clients importants et vos
relations d‟affaires.
Enz.
Nous vous invitons à visiter notre galerie virtuelle www.artefacto.be qui offre une sélection
d‟œuvres destinées tant aux entreprises qu‟aux collectionneurs privés.
Vous désirez nous rencontrer? N‟hésitez pas à envoyer un message à [email protected] et
nous vous contacterons aussi vite que possible.
Ci-joint, vous pourrez trouver un article sur ArteFacto paru dans Bizz Magazine.
Cordialement,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
20
Annex 8: Contact letter communication-event agencies
Beste,
Recent richtten Marleen Coppens, Tessa De Buysere en Koenraad Goris de vzw ArteFacto op.
Deze vereniging wil kunstenaars ondersteunen door hedendaagse, betaalbare én
kwaliteitsvolle kunst toegankelijk te maken voor een breed publiek van kunstminnaars.
ArteFacto richt zich echter niet enkel op particulieren en wil meer zijn dan enkel een virtuele
kunstgalerij. Daarom bieden we ook aan bedrijven een waaier aan innovatieve activiteiten
aan. Voorbeelden hiervan zijn:
Door onze kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te bevorderen.
Kortom, bent u op zoek naar een innovatieve partner voor één van uw evenementen; wilt u
uw klanten iets écht nieuws aanbieden en hen verassen met een artistiek getint evenement,
aarzel dan niet om contact met ons op te nemen via [email protected] of +32
(0)491/02.23.02!
Meer informatie over ons en onze kunstenaars kan u terugvinden op www.artefacto.be. In
bijlage voegden we alvast onze flyer met een korte voorstelling van ArteFacto toe.
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Art is a virtue
21
Annex 9: Excerpt database communication-event agencies
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22
Annex 10: Contact email aimed at Flemish art schools
Beste,
Recent richtten wij - Marleen Coppens, Tessa De Buysere en Koenraad Goris - de vzw
ArteFacto op. Deze vereniging wil kunstenaars ondersteunen door hedendaagse, betaalbare
én kwaliteitsvolle kunst toegankelijk te maken voor een breed publiek van kunstminnaars.
ArteFacto doet dit door kunst met de bedrijfswereld te verenigen op een manier die gunstig
is voor beide partijen en dit via een waaier aan innovatieve activiteiten:
Een "Art & Values" programma om de bedrijfswaarden te promoten binnen de
(bestaande of gefuseerde) organisatie.
Door kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te bevorderen.
Enz.
Natuurlijk zijn we steeds op zoek naar kunstenaars die lid willen worden van onze vereniging
en met ons willen samenwerken. Daarom is onze vraag naar u toe of het eventueel mogelijk
zou zijn om ons een lijst te bezorgen met de e-mailadressen van uw afgestudeerden, zodat
we met hen contact kunnen opnemen.
Ook zouden we aan u willen vragen of u eventueel bereid zou zijn om onze flyer (zie bijlage)
ad valvas te hangen?
Alvast bedankt!
Met vriendelijke groeten,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
23
Annex 11: Event plan
Evenement: Montmartre in Het Patershol – De Kunstroute van ArteFacto
Organiseren op een vrijdagavond – de daarop volgende zaterdag en zondag kan dan de gewone
tentoonstelling doorgaan.
Hier gaan we in op het idee van de kunstwandeling in de straatjes van ‟t Patershol.
Bij mooi weer kan buiten tentoongesteld worden
Bij slecht weer spreken we de cafeetjes aan in de buurt (zij winnen er ook bij want ze krijgen meer
klanten over de vloer)
Daar stellen we (afhankelijk van de grootte) een aantal kunstwerken tentoon
o Ofwel heel duidelijke vermelding om welk werk het gaat en wie de kunstenaar is
o Ofwel kunstenaar aanwezig (volgens mij is deze beter aanwezig op de receptie
zelf)
o Ook brochure voorzien met de tentoongestelde werken: zo kunnen mensen
aanduiden van wie ze meer willen zien en/of van wie ze iets willen kopen
We maken voor de mensen die komen opdagen „drankbonnetjes‟: zo kunnen ze in
bijvoorbeeld 2 cafés een drankje nuttigen, de rest is op eigen kosten.
Maak er een route van 45min à 1u en voorzie een tijdspanne van 2u à 2u30 wanneer mensen
kunnen deelnemen (vb. van 19u-21u30 kan men aan de kunstroute beginnen, vanaf 21u30 richt
men zich best onmiddellijk naar de eindlocatie van de route)
De route moet uitgetekend zijn op kaartjes, met duidelijk beginpunt (vermeld op de
uitnodiging) (hier kunnen de mensen terecht voor de drankbonnetjes en het ophalen van
de kaartjes) en eindpunt (plaats van de receptie)
o Afweging maken: vermelden plaats van receptie op uitnodigingen of pas bij
startpunt van de wandeling?
Uitnodiging: je riskeert veel volk te verliezen op de wandeling
Beginpunt: mensen die pas later, na afloop van de wandeling kunnen
komen, kunnen ook niet naar de receptie
o Op het beginpunt moet er dan natuurlijk ook iemand aanwezig zijn om de mensen
de nodige uitleg te geven (Misschien beter een vrijwilliger, zodat jullie op de
eindlocatie aanwezig kunnen blijven)
De kunstroute eindigt in het Caermersklooster (in de Patersholwijk) OF eventueel in de
Parnassuskerk (10min. Wandelen) OF in een andere dichtbij zijnde locatie in Gent.
Hier wordt dan de eigenlijke tentoonstelling (die ook de zaterdag en de zondag nog
kan bezocht worden) gehouden met meer kunst per kunstenaar en de kunstenaar is
hier ook aanwezig om uitleg te geven en/of kunst te verkopen
24
Gekoppeld aan een receptie met hapjes en drankjes en muziek
Hier zijn ook Tessa, Marleen & Koenraad aanwezig
25
Annex 12: Event cost analysis
Evenement: kosteninschatting per kostenpost
Brochure van het evenement zelf
(Printconcept.be: 500 exemplaren van een A5
staand boekje)
8 pagina’s
12 pagina’s
16 pagina’s
270 euro
375 euro
380 euro
Locatie
Wandeling langs het Patershol
Parnassuskerk
25 euro – 1000 euro
Huur hoge partytafels
?
Drankbonnetjes 500x2x1,50 = 1500 euro
Catering
Hapjes
Drankjes
Zou ik zelf proberen te verzorgen om de
kosten te drukken: Chips en zo:
450 euro
Zou ik zelf proberen te verzorgen: werk
met een beperkt aanbod: Schuimwijn en
Fruitsap:
600 euro
Bediening Hier zou ik kiezen voor vrijwilligers uit
vrienden- en familiekring om de
kosten te drukken
Prijs ligt rond de 30 euro per hostess per
uur
Muziek
Bandje
Zelf de muziek verzorgen met cd‟s
(SABAM)
575 euro (The Almost Swinging Jazz Band)
111,01 euro
26
Annex 13: Template letters
Beste,
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Art is a virtue
27
Annex 14: Email to decline an invitation
Beste,
Wij willen u vooreerst hartelijk bedanken voor de uitnodiging voor uw tentoonstelling. Spijtig
genoeg laat onze agenda het deze keer niet toe om er op in te gaan. Hopelijk lukt het een
volgende keer wel!
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Beste,
Wij willen u vooreerst hartelijk bedanken voor de uitnodiging voor uw tentoonstelling. Deze
keer zijn we helaas verhinderd om er op in te gaan. Gelieve ons hiervoor te excuseren.
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Dear Sir, dear Madam,
First of all, we would like to thank you for the invitation to your exhibition. Unfortunately,
our diaries do not allow us to take up the offer. However, we do hope to be present the next
time!
Kind regards,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
28
Dear Sir, dear Madam,
First of all, we would like to thank you for the invitation to your exhibition. Please excuse us,
for this time we are unfortunately unable to take up the offer.
Kind regards,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Chère Madame,
Cher Monsieur,
Tout d‟abord, nous tenons à vous remercier de nous avoir invités à votre exposition.
Malheureusement, nos agendas ne nous permettent pas de venir cette fois-ci. Néanmoins,
nous espérons d‟être présents la prochaine fois !
Cordialement,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Chère Madame,
Cher Monsieur,
Tout d‟abord, nous tenons à vous remercier de nous avoir invités à votre exposition.
Malheureusement nous sommes dans l‟impossibilité de venir cette fois-ci. Veuillez nous
excuser.
Cordialement,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
29
Annex 15: Email „Open Bedrijvendag 2010‟
Beste,
Bent u op zoek naar een innovatieve partner voor de komende Open Bedrijvendag? Wilt u uw
bezoekers verrassen door uw bedrijf in een artistiek kleedje te stoppen? Dan hebben wij de
oplossing voor u!
Recent richtten wij – Marleen Coppens, Tessa De Buysere en Koenraad Goris – de vzw
ArteFacto op. Deze vereniging zonder winstoogmerk wil kunstenaars ondersteunen door
hedendaagse, betaalbare én kwaliteitsvolle kunst toegankelijk te maken voor een breed
publiek van kunstminnaars.
ArteFacto richt zich echter niet enkel op particulieren en wil meer zijn dan enkel een virtuele
kunstgalerij. Daarom bieden we ook aan bedrijven een waaier aan innovatieve activiteiten
aan. Voorbeelden hiervan zijn:
Door onze kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te bevorderen.
De komende Open Bedrijvendag lijkt ons dan ook een uitgelezen kans om onze diensten aan
u aan te bieden en met u samen te werken. Het koppelen van een vernissage aan uw Open
Bedrijvendag zorgt er namelijk voor dat u uw bedrijf op een nieuwe en verrassende manier
kan voorstellen aan het grote publiek.
Interessant, zegt u? Aarzel dan niet om contact met ons op te nemen via [email protected]
of +32 (0)491/02.23.02!
Meer informatie over ons en onze kunstenaars kan u terugvinden op www.artefacto.be. In
bijlage voegden we alvast onze flyer met een korte voorstelling van ArteFacto toe.
Met vriendelijke groeten,
Tessa De Buysere,
Koenraad Goris &
Marleen Coppens
30
Annex 16: Template dossier application sponsorship
DATUM
Beste,
Graag hadden wij een aanvraag tot sponsoring ingediend. Het betreft hier een sponsoring
voor het evenement „De Kunstroute van ArteFacto‟. In het hierbij gevoegde dossier, geven we
een voorstelling van onze organisatie en het geplande evenement weer.
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Art is a virtue
31
1 Voorstelling ArteFacto
Naam: ArteFacto vzw
Adres: Hollebeekpark 6A, 9820 Merelbeke
Datum van oprichting: … november 2009
E-mail: [email protected]
Telefoon: 0491 02 23 02
Website: www.artefacto.be
Rechtsvorm: Vereniging zonder winstoogmerk
BTW-nummer:
Banknummer:
Activiteiten:
ArteFacto vzw is een jong en dynamisch bedrijf, opgericht door drie vrienden die dezelfde
passie delen: Kunst. Het doel van ArteFacto is kunstenaars ondersteunen om doelgerichter
hun kunstwerken te verkopen.
ArteFacto wil betaalbare én kwaliteitsvolle hedendaagse kunst toegankelijk maken voor een
breed kunstminnend publiek.
Naar particulieren toe stellen we een uitgebreid aanbod van kunst voor via de website,
www.artefacto.be, maar ook bedrijven kunnen ArteFacto inschakelen voor een waaier aan
activiteiten:
Een “Art & Values” programma om de bedrijfswaarden te promoten binnen de
organisatie.
Door kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te bevorderen.
Een origineel “art-on-demand” kunstwerk voor gewaardeerde klanten en business
partners.
Unieke geschenken voor het personeel bij speciale gelegenheden (pensioen,
huwelijk,.).
Activiteiten aangepast aan de wensen van het bedrijf.
32
2 Voorstelling evenement
Om ArteFacto vzw beter bekend te maken bij een groot publiek en om tegelijkertijd aan
onze kunstenaars een extra opportuniteit te bieden om hun kunst te verkopen, organiseren
we „De Kunstroute van ArteFacto‟. Dit evenement zal plaatsvinden op… 2010 in het Patershol
te Gent. Het concept bestaat er in dat er in het Patershol een kunstroute wordt uitgestippeld
waarlangs onze genodigden zullen wandelen. Bij goed weer kan de kunst langs deze route
buiten tentoon gesteld worden. Bij slecht weer spreken we een aantal omliggende
etablissementen aan, waar de kunst dan binnen tentoongesteld kan worden. Hier voorzien
we dan per persoon 2 consumptiebonnetjes. Op deze manier wordt een win-win-situatie
gecreëerd.
Er wordt ook een brochure voorzien, waarin alle kunstwerken die langs de kunstroute
worden tentoon gesteld, zijn opgenomen, zodat men kan aanduiden van welke kunstenaar
men meer te weten wil komen en/of een werk wil kopen.
De kunstwandeling kan afgelegd worden tussen 19u en 21u30 en neemt zo‟n 45 minuten à
1 uur in beslag. Het eindpunt van de kunstroute bevindt zich in de Parnassuskerk te Gent.
Hier wordt nog meer kunst van onze kunstenaars tentoon gesteld en de kunstenaars zelf
zijn ook aanwezig. Op die manier kan van het evenement gebruik gemaakt worden om hun
kunstwerken te verkopen. Op deze locatie wordt dus een afsluitende receptie gehouden waar
hapjes en drankjes voorzien zijn en een streepje muziek voor de sfeer.
Na afloop van het evenement blijft de kunst op deze locatie nog 2 dagen tentoongesteld,
zodat ook mensen die niet aanwezig konden zijn op het evenement, toch de kans krijgen om
ArteFacto en zijn kunstenaars beter te leren kennen.
Om dit alles te kunnen realiseren, hebben we een bedrag van 3.500 euro1
nodig. Wij vragen
u hiervoor een bijdrage van … euro als sponsoring en leveren daarvoor als tegenprestatie
een vermelding op de uitnodigingen, een vermelding op de brochure van het evenement en
een vermelding op de locatie van de receptie. Andere, vaste sponsors zijn … . Andere,
potentiële sponsors zijn … .
Om het evenement te promoten, zetten we volgende middelen in: Exqi Cultuur Journaal, … .
In totaal zullen we … uitnodigingen voor het evenement versturen, en we verwachten dan
ook een opkomst van 500 bezoekers.
1 Voor een overzicht per kostenpost zie bijlage.
33
Annex 17: Template dossier application subsidy
DATUM
Beste,
Graag hadden wij een aanvraag tot subsidie ingediend. Het betreft hier een subsidie voor het
evenement „De Kunstroute van ArteFacto‟. In het hierbij gevoegde dossier, geven we een
voorstelling van onze organisatie en het geplande evenement weer.
Met vriendelijke groeten,
Marleen Coppens,
Tessa De Buysere &
Koenraad Goris
Art is a virtue
34
1 Voorstelling ArteFacto
Naam: ArteFacto vzw
Adres: Hollebeekpark 6A, 9820 Merelbeke
Datum van oprichting: … november 2009
E-mail: [email protected]
Telefoon: 0491 02 23 02
Website: www.artefacto.be
Rechtsvorm: Vereniging zonder winstoogmerk
BTW-nummer:
Banknummer:
Activiteiten:
ArteFacto vzw is een jong en dynamisch bedrijf, opgericht door drie vrienden die dezelfde
passie delen: Kunst. Het doel van ArteFacto is kunstenaars ondersteunen om doelgerichter
hun kunstwerken te verkopen.
ArteFacto wil betaalbare én kwaliteitsvolle hedendaagse kunst toegankelijk maken voor een
breed kunstminnend publiek.
Naar particulieren toe stellen we een uitgebreid aanbod van kunst voor via de website,
www.artefacto.be, maar ook bedrijven kunnen ArteFacto inschakelen voor een waaier aan
activiteiten:
Een “Art & Values” programma om de bedrijfswaarden te promoten binnen de
organisatie.
Door kunstenaars begeleide team building evenementen.
Kunstworkshops voor werknemers en hun gezin tijdens familiedagen.
Kunsttentoonstellingen voor klanten.
Kunstwedstrijden om nieuwe producten te lanceren of om de branding te bevorderen.
Een origineel “art-on-demand” kunstwerk voor gewaardeerde klanten en business
partners.
Unieke geschenken voor het personeel bij speciale gelegenheden (pensioen,
huwelijk,.).
Activiteiten aangepast aan de wensen van het bedrijf.
35
2 Voorstelling evenement
Om ArteFacto vzw beter bekend te maken bij een groot publiek en om tegelijkertijd aan
onze kunstenaars een extra opportuniteit te bieden om hun kunst te verkopen, organiseren
we „De Kunstroute van ArteFacto‟. Dit evenement zal plaatsvinden op… 2010 in het Patershol
te Gent. Het concept bestaat er in dat er in het Patershol een kunstroute wordt uitgestippeld
waarlangs onze genodigden zullen wandelen. Bij goed weer kan de kunst langs deze route
buiten tentoon gesteld worden. Bij slecht weer spreken we een aantal omliggende
etablissementen aan, waar de kunst dan binnen tentoongesteld kan worden. Hier voorzien
we dan per persoon 2 consumptiebonnetjes. Op deze manier wordt een win-win-situatie
gecreëerd.
Er wordt ook een brochure voorzien, waarin alle kunstwerken die langs de kunstroute
worden tentoon gesteld, zijn opgenomen, zodat men kan aanduiden van welke kunstenaar
men meer te weten wil komen en/of een werk wil kopen.
De kunstwandeling kan afgelegd worden tussen 19u en 21u30 en neemt zo‟n 45 minuten à
1 uur in beslag. Het eindpunt van de kunstroute bevindt zich in de Parnassuskerk te Gent.
Hier wordt nog meer kunst van onze kunstenaars tentoon gesteld en de kunstenaars zelf
zijn ook aanwezig. Op die manier kan van het evenement gebruik gemaakt worden om hun
kunstwerken te verkopen. Op deze locatie wordt dus een afsluitende receptie gehouden waar
hapjes en drankjes voorzien zijn en een streepje muziek voor de sfeer.
Na afloop van het evenement blijft de kunst op deze locatie nog 2 dagen tentoongesteld,
zodat ook mensen die niet aanwezig konden zijn op het evenement, toch de kans krijgen om
ArteFacto en zijn kunstenaars beter te leren kennen.
Om dit alles te kunnen realiseren, hebben we een bedrag van 3.500 euro2
nodig. Wij vragen
u hiervoor een bijdrage onder de vorm van een subsidie.
Om het evenement te promoten, zetten we volgende middelen in: Exqi Cultuurjournaal, …
In totaal zullen we … uitnodigingen voor het evenement versturen, en we verwachten dan
ook een opkomst van 500 bezoekers.
2 Voor een overzicht per kostenpost zie bijlage.
36
Annex 18: Report Board Meeting
RvB 30/04/2010
1. Facebook: Er moeten zeker nieuwe elementen op verschijnen (nieuwe kunstenaars,
nieuwe werken,…) + Eventueel koppelen aan Twitter (Twitter via ArteFacto)
Vragen aan de kunstenaars of hun kunstwerken op de facebook-pagina
mogen verschijnen
Lien werkt dit uit met opvolging Marleen
2. Als we een event organiseren moet het speciaal, origineel, leuk,… zijn, anders komt
niemand
3. Nieuwe kunstenaars die in de pipeline zitten en die goed zijn
Caroline Soete – Gent: Tessa opbellen
Tessa heeft ook nog andere afspraken volgende week
Ook Marleen heeft een paar prospects
4. Lien werkt verder aan de database met contacten
5. Contactmail is opgesteld: Nederlandse versie is ok / Franse en Engelse versie worden
nog nagelezen
Nagaan of het mogelijk is om deze te versturen vanuit ArteFacto, maar
waarbij de eigen naam verschijnt als afzender
Koenraad is al bezig met persoonlijke contacten persoonlijk aan te spreken
(herhalen van de boodschap kan geen kwaad)
6. Stagiaires via Hogeschool Antwerpen (KDG en Plantijn): voor volgend schooljaar; via
contact Tessa
7. Duitse websiteversie: is klaar, maar Michel komt niet over de brug basisteksten
moeten in het Duits, andere teksten mogen in het Engels blijven
8. Artefacts: is in aanmaak
9. Koenraad: W.Daems gebeld en Tessa gaat maandag 3 mei langs: interesse om te
brainstormen rond events
10. Meeting met Metro 29 april: wat kan ArteFacto doen?
Basisconcept: Metro wordt wekelijks gelezen door 2 miljoen lezers: af en toe
worden wedstrijden gesponsord door Neckermann en Metro haalt geld uit
advertenties we kunnen aan de kunstenaars vragen om na te denken over
“10 jaar metro” en om er een kunstwerk rond te maken, degene die de lezers
kiezen wint en komt in Metro Deluxe en de lezer kan ook een werk winnen
Idee: partner (bij voorkeur iemand die nog nooit in Metro geadverteerd heeft)
die de kunstenaar sponsort en de prijs betaalt
Mogelijke partners: Koenraad: Vandemoortele / Selor / Electrabel; Marleen:
NMBS
11. Tessa heeft deze avond afspraak met iemand van de Nationale Loterij; man van Tessa
wil zelf eerst met Eandis spreken
12. Koenraad: SPE/Luminus moet nog opgebeld worden; contacteert Randstad en
Congaz; CFE heeft geen interesse; Waterleau en Microsoft: nu geen tijd maar houden
37
ArteFacto in het achterhoofd database aanleggen om zo het overzicht te behouden
en te weten wie we wanneer opnieuw moeten contacteren
13. Lien: probeert Telenet (P. Willaert) te contacteren en drie data voor een afspraak te
krijgen
14. Lien vraagt aan Michel of er een mogelijkheid is tot gemeenschappelijke server om
alles van ArteFacto te centraliseren
15. Lien: Welke managers zijn kunstenaars? Via Linked-In (Marleen volgt op)
16. Dossier aanleggen met mogelijke sponsors voor vb. het organiseren van een event
17. Persmap = situationeel; wat kan er wel in: het artikel van Bizz, de flyer; nummers en
e-mailadressen van journalisten. Iedereen blijft alert (vb. artikel over kunst: naam
journalist opschrijven)
18. Subsidiedossier: rechtstreeks de Vlaamse Gemeenschap aanspreken; Koenraad
contacteert S. Eyckmans voor hulp
19. Marleen mailt Roos Van Acker
20. Koenraad contacteert L. Vandenhoutte
21. Tessa belt Waals communicatiebureau terug op
22. Marleen neemt contact op met het eventbureau van S. Naze (KonseptS)
23. Tessa contacteert Delaware
24. PWC contacteren
Next meeting: 28/05/2010 at 8:30am – kantoor Marleen
38
Annex 19: Report meeting Metro-project
Brainstorm 10j Metro 6/05/2010
We richten ons op Metro DeLuxe mogelijke scenario‟s:
1. We werken met een aantal bestaande adverteerders / distributeurs van metro. Deze
sponsoren een prijskamp naar aanleiding van 10 jaar metro. De sponsor betaalt de
kunst.
Kunstwerk draait rond Metro zelf.
2. Een adverteerder / distributeur „vraagt‟ aan ArteFacto om een kunstwerk rond hen te
maken. Hierbij is Metro het communicatiekanaal om de sponsor in de bloemetjes te
zetten.
3. Welke zijn de bedrijven (adverteerders of distributeurs) die het mogelijk maakten dat
Metro van start ging en kan blijven bestaan = Trouwe partners van Metro. Metro
bedankt deze trouwe partners door minder dure advertentieruimte (vb. zelfde prijs
vragen als in de niet-glossy versie)
Hier is er geen prijskamp aan verbonden! Metro geeft ArteFacto de opdracht om een
kunstwerk te maken rond 1 van die bedrijven en dat bedrijf krijgt dan het kunstwerk.
Praktisch: wij vragen aan de kunstenaars om een voorontwerp te maken van hun kunstwerk
(+ prijs?). Wij leggen dit voor aan Metro of de sponsor en die kiest dan. ArteFacto factureert
aan de kunstenaar. De kunstenaar factureert aan Metro of sponsor.
39
Annex 20: Manual for the upload of documents via the website
Handleiding om documenten via de website up te loaden
1. Je gaat naar http://www.artefacto.be/system/index.php
2. Vul je username en password in
Voor stagiaire: Username = *** en Password = ***
3. Klik op publish (links bovenaan) en kies voor documenten
4. Voer een titel in voor je document in het vak title en klik op upload file (naast het vak „url
title‟) en zoek in je bestanden het document dat je wenst up te loaden
5. Druk op upload
6. Kies voor embedded in entry en dan druk je op place file and close window
7. Druk dan op submit (naast „preview‟ en „quick save‟)
Om je document te bekijken: ga naar edit (naast „publish‟) en klik op view, klik dan op de url van het
document en het document opent vanzelf.
Om de status van closed naar open te veranderen: ga naar edit en vink het document dat je wil
aanpassen aan:
Scroll naar beneden en kies daar edit selected
Druk op submit
Verander in het vakje status „closed‟ naar „open‟
Druk op update
40
Annex 21: Marketing communication plan ArteFacto
Marketingcommunicatieplan – Artefacto vzw
Doelgroepen Het grote publiek (= kunstminnaars)
Kunstenaars
Bedrijven
Communicatiedoelstellingen Bij alle drie de doelgroepen
Categoriebehoefte (mensen moeten
ArteFacto nog leren kennen)
Merkbewustzijn (herkenning en
herinnering )
Merkattitude (mensen moeten spontaan
aan ArteFacto denken als ze vb een
bedrijfsevenement organiseren of kunst
willen kopen)
Koopintentie (mensen moeten ook
effectief bereid zijn om een beroep te
doen op ArteFacto, er niet enkel
spontaan aan denken)
Communicatieboodschap In deze “startfase” vooral nog naamsbekendheid
verwerven: wie is ArteFacto en wat doet
ArteFacto? Wat kan ArteFacto doen voor u?
Deze boodschap moeten we aan zoveel
mogelijk mensen laten weten!
Hier vooral een „informationele‟ boodschap:
vooral ingaan op eigenschappen en het
overbrengen van de visie en missie van
ArteFacto.
Opmerking:
Heel belangrijk dat er een vaste huisstijl wordt
uitgewerkt (eventueel een huisstijlhandboek
opstellen) + templates voor brieven, e-mails,…
zodat alles wat uitgezonden wordt een zelfde
vormgeving heeft herkenning
Denk misschien ook eventueel al eens aan een
boilerplate (kan onder persberichten, brieven,…
geplaatst worden)
Communicatiekanalen Flyer voor bedrijven en voor kunstenaars
+ voorstelling ArteFacto in bedrijven
Flyer naar kunstenaars in de
kunstacademies leggen
41
Event voor het grote publiek
Metro voor het grote publiek
Via het netwerk van Tessa, Koenraad en
Marleen voor bedrijven en grote publiek
(vrienden en familie)
Exqi?
Eventorganisaties (worden
aangeschreven om ArteFacto voor te
stellen, op die manier weten ze dat
ArteFacto bestaat en dat ze er een beroep
kunnen op doen voor bepaalde
evenementen).
ArteFacto voorstellen via LinkedIn aan
kunstenaars
Facebookpagina
Contacten leggen met Vlaamse
kunstacademies
Communicatiebudget Flyer: /
Event:
Metro:
Netwerk: /
Exqi:
Aanschrijven eventorganisaties:
Communicatiemix Event
Direct Marketing (mailing)
Persoonlijke contacten
Wat kunnen we nog doen? Huisstijl vastleggen en alles daarop
afstemmen
Arte-Facto enveloppes maken + zorgen
dat er stickertjes met adressen kunnen
afgeprint worden als we veel brieven
moeten uitsturen
Een link op de website zetten naar de
facebook-pagina
Vragen aan de artiesten met een eigen
website om daar een verwijzing naar AF
op te plaatsen (vb onder deel „links‟) +
eventueel een logo van AF
42
Vragen aan de artiesten met een FB-
pagina om ook daar een verwijzing naar
AF op te plaatsen (vb onder „info‟:
website)
Op serieuze blogs over kunst een bericht
nalaten met info over wie AF is en wat
we doen (zeker ook opvolgen!)
Kleine flyer – kaart maken om te leggen
bij:
o Onze artiesten
o Winkels van het genre Lesaffre
o Cultuurcentra
o Musea
o Gallerijen of plaatsen waar onze
kunstenaars zonder ons
exposeren
Resultaten?
