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You are on page 1/ 49

TECHNOLOGICAL UNIVERSITY OF THE PHILIPPINES

COLLEGE OF ARCHITECTURE AND FINE ARTS

Ayala Blvd., Ermita, Manila, 1000, Philippines

INKcredible Tale: Advertising Campaign for Lenjotzkie Studio In Motivating

Aspiring Filipino Comic Artists Through Website Platform

A Thesis presented to the

Department of Fine Arts
College of Architecture and Fine Arts
Technological University of the Philippines, Manila

In partial fulfillment of the requirements for the

degree of Bachelor of Fine Arts major in Advertising

Lagos, Jason E.

Ong, Paul Danrhick A.

BFA 4B

Prof. Ferdinand R. Doctolero

Adviser

S.Y. 2024-2025
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APPROVAL SHEET

In partial fulfillment of the requirements for the degree of Bachelor of Fine Arts major in Advertising, this
thesis entitled “____________________________” has been submitted by [Surname, First Name,
Middle Initial].

Presented to:

________________________________
Prof. Ferdinand R. Doctolero
Thesis Adviser

_____________________________ _____________________________
Panelist Panelist

Accepted as partial fulfillment for the course of Bachelor of Fine Arts major in Advertising.

_______________________________ ______________________________
Ms.Wilma D. Enriquez Ar. Elpidio T. Balais, Jr.
Department Head Dean
Fine Arts Department College of Architecture and Fine Arts

Submitted this [date] day of [month] [year].

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DECLARATION OF ORIGINALITY

We, the author of this thesis entitled “[________________________]” hereby declared that:

1. This thesis paper is the product of our own work.

2. This work contains no fabricated and plagiarized materials, i.e., all borrowed ideas, texts, photos,
tables, and graphics incorporated in the study have been properly cited.
3. This paper has not been submitted elsewhere for publication or to any other higher education
institution (HEI) as partial fulfillment for an academic degree.

We also understand that we can be appropriately sanctioned by the Technological University of the
Philippines, Manila, should these declarations be found untruthful.

[Sign here]
Lagos, Jason E.

[Sign here]
Ong, Paul Danrhick A.
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Lagos and Ong

Acknowledgement

Double-spaced, EB Garamond, 12 pts, flush left, ragged right alignment. Follow the MLA 9th

edition styles both for integral and non-integral citations. You may opt to use footnotes if deemed

necessary, but in-text citation is more encouraged in this format. Follow these styles all throughout the

manuscript. Remember to support your arguments with passages from the text when presenting the

information. These can be brief quotations, but you should write in your own words a few times.

References to critics' assessments of this work enhance the content of your essay. Always avoid making

broad generalizations and emotionally charged remarks. Maintaining objectivity and accuracy in research

is important. By contrasting the piece with other works of literature and art in the main section, you can

demonstrate your knowledge. You can express both your aesthetic impression and your assessment of the

assigned work in the central section of the paper. The whole submission should not be more than 175

pages and not be less than 150 pages. (inclusive of references).

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ABSTRACT

Title:
Author/s: Lagos, Jason
Ong, Paul Danrhick A.
Degree: Bachelor’s Degree in Fine Arts
Major: Advertising
College: College of Architecture and Fine Arts Completion
Year: 2025
Personal Email/s: [email protected]/
[email protected]
Thesis Adviser:

The entire paper's text bodies are formatted with left alignment. A justified alignment on large paper (8 x
11") strains the reader's eyes, making the experience uneasy. International journals therefore prefer to have
their text bodies aligned to the left. Abstracts should be limited to 250 words. The text body's spacing is set
to 1.5. AN ABSTRACT IS ONLY WRITTEN FOLLOWING THE CONCLUSION OF THE
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augue. Curabitur dapibus ante sit amet varius eleifend. Phasellus faucibus justo lectus, rutrum consectetur
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blandit in, auctor eu ipsum. Praesent sed libero interdum, tristique quam vehicula, malesuada justo. Nulla
diam augue, euismod vitae ante at, tristique luctus risus. Nam nec diam augue. Sed tempus lacus non odio
eleifend fringilla. Curabitur id purus vel nisl auctor feugiat ut ac est. Donec pharetra sem id feugiat
imperdiet. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.
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TABLE OF CONTENTS

Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Page numbers here]

Approval Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Declaration of Originality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Acknowledgement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPTER 1: Background and Problem of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2. Background of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.3. Problem of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4. Objectives of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.5. Significance of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.6. Scope and Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPTER 2: Review of Related Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1 Definition of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.2. Review of Related Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.3. Conceptual Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.4. Theoretical Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPTER 3: Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.1.Research Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.2.Research Locale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.3.Research Population and Sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.4.Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5.Advertising Campaign Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5.1. Ideation Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5.2. Advertising Campaign Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5.3. Execution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5.4. Ad Campaign Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.6.Data Gathering Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.7.Data Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPTER 4: Results and Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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4.1. Survey Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.2. Project Test Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.3. Project Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.4. Project Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPTER 5: Summary, Conclusion, and Recommendations . . . . . . . . . . . . . . . . . . . . . . . .
5.1. Summary of Findings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5.2. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5.3. Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Copyright Certificate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grammarian’s Certificate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Statistician’s Certificate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Researcher’s Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thesis Consultant’s Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thesis Adviser’s Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Works Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 1

Background and Problem of the Study

1.1 Introduction

Comics have become a universal language in this era where storytelling does not know the bounds

of capturing the imagination of people from all walks of life. However many gifted comic artists in the

Philippines' voices can not be heard by the people, it is not because of their lack of skill or creativity, but

due to these systemic issues that holds back their potential. The government and the media provide very

little or no support at all for the comics industry, leaving many creators feeling overlooked and

undervalued. As a result, some Filipino comic book creators self-publish their works, but it is not enough

for them to be recognized. Despite this, Filipino comics hold immense potential, showcasing unique

narratives and artistic styles rooted in the country’s culture. But without proper platforms or recognition,

these stories remain hidden, waiting to be discovered.

Lenjotzkie Studio will be one of the studio comics here in the Philippines to be a hope within this

landscape, carving its path in the competitive world of comic art. By taking art commissions and

transforming scripts from writers worldwide, into vibrant manga-style illustrations, the studio combines

with distinct Filipino comic style. This unique blend not only highlights the talent of Filipino artists but

also redefines how local art can be appreciated on a global scale.

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In the future, Lenjotzkie Studio hopes to establish a publishing house where Filipino comics can

be printed and distributed locally. This bold step could establish them as a leading studio, not just in

producing exceptional art but also in championing the local comics industry. In order to promote the

growing comic community in the Philippines, Lenjotzkie Studio provides an opportunity for their works

as well as those of other artists.

Our thesis, "INKcredible Tale: Advertising Campaign for Lenjotzkie Studio In Motivating Aspiring Local

Comic Artists Through Website Platform” aims to spotlight the studio's dedication to its craft while

encouraging future Filipino comic book artists to continue their artistic interests. Through this advertising

campaign, we hope to promote Lenjotzkie Studio as an example of how Filipino talent can thrive in the

global arena. We will also develop an Informative website platform which will serve as a digital hub for

showcasing Lenjotzkie Studio’s journey, works, and aspirations. The website will not only promote the

studio’s services but also act as an inspiration by making a comic that is based on How Lenjotzkie Studio

achieved its goal and also a resource for aspiring artists by providing insights into the industry and tools to

educate, for them to grow. This project is more than just a campaign, it is a manifestation of our ambition

to help Lenjotzkie Studio succeed in the future. In this early stage of their business we want to help them

draw in more clients and supporters but also to use them as an instrument for encouraging other artists

that have the same passion for creating comics . This advertising campaign is more than a promotional tool

—it is a strategic effort to help Lenjotzkie Studio establish a solid foundation for growth. Our goal is to

generate possibilities for the studio to achieve success by increasing exposure, drawing in clients, and

creating a network of supporters.

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1.2. Background of the Study

An advertising campaign is essentially a series of connected ads designed to share a story or message

with people, all with the goal of achieving something specific—like making people aware of a product,

sparking their interest, or convincing them to take action, like making a purchase. The point of this is to

stick with people, to be memorable in a way that keeps them thinking about the brand or product long

after they have seen the ad. It is not just about selling—it is about creating a connection and building trust

so that when the time comes, people feel good about choosing that brand.

Lenjotzkie Studio, a rising graphic service company, specializes in creating high-quality manga-

style illustrations that blend Filipino culture with international art trends. However, like many emerging

studios, it faces challenges such as limited brand recognition and a small client base. Through this

campaign, Lenjotzkie Studio hopes to raise awareness about its services, foster a sense of community

among Filipino artists, and inspire the next generation of comic creators.

This campaign is designed to promote Lenjotzkie Studio’s brand while inspiring Filipino artists by

showcasing the studio’s work through various form of media By highlighting the studio’s creative process

and its owner’s journey in the comics industry—detailing the challenges, growth, and achievements—the

campaign aims to provide insight into the origins and development of Lenjotzkie Studio. This approach is

intended to motivate aspiring artists by demonstrating the value of perseverance, passion, and self-belief in

overcoming obstacles and building a creative career. The very goal of this project is to revitalize the local

comics industry, encouraging Filipino artists to pursue their craft and showing them that their work has

the potential to make a meaningful impact on a global scale. Through these diverse advertising efforts,
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Lenjotzkie Studio hopes to expand its reach, attract more clients, and create lasting connections within the

creative community

1.3. Problem of the Study

This study aims to promote Lenjotzkie Studio, which exposes local comic art to a worldwide

audience, while also making them an inspiration to aspiring comic artists. The researcher specifically wants

to answer the following questions throughout our research:

1. What role would Lenjotzkie Studio do in motivating aspiring comic book artists from the

Philippines?

2. Who are the individuals involved that require to be inspired?

3. How will Lenjotzkie Studio market its business to increase recognition?

4. What are the important factors to consider in making a studio website that will benefit

both the studio and the viewers?

1.4. Objectives of the Study

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The campaign plans to propose an ad campaign for Lenjotzkie Studio, and not only to advertise the

studio but also to demonstrate that it is more than just promoting local art globally; it also aims to inspire

other local and aspiring artists.

To advertise the studio, the campaign aims to provide an

● To promote the newly opened studio in order to increase its exposure

and draw in more clients.

● SDG 8: Decent Work and Economic Growth is tied to this objective from encouraging aspiring

comic book artists by showing Lenjotzkie Studio's story through digital comics. Motivating

inspiring local comic book artists is one of the goals of our studies, as it boosts economic

opportunities, entrepreneurship, and creativity in the creative industry. story of achieving their

dream of establishing a studio and attracting global clients.

● SDG 4: Quality Education is associated with this objective by developing a website that will be

used as a platform that provides tools, and knowledge. Lenjotzkie Studio can reduce the lack of

information and resources accessible to aspiring artists who might not have access to formal

education or opportunities.

● To create a digital comic that tells Lenjotzkie Studio's story of achieving their ambitions.
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● SDG 10: Reduced Inequalities is also in line with our goal of showcasing Filipino comics, as it

contributes to the wide range of artistic representation worldwide, focusing on reducing

inequalities between countries when it comes to comic popularity.

1.5. Significance of the Study

The purpose of this study is to promote Lenjotzkie Studio as a rising graphic service company that

combines Filipino artistry with international manga-style illustrations. This study aims to explore the

impact of a targeted advertising campaign on a growing business with limited exposure and resources. The

campaign’s goal is to highlight the studio’s work, share the owner’s journey in the comics industry, and

encourage aspiring Filipino artists.

● For Lenjotzkie Studio

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As an emerging business it is important to continuously promote your company for it to be

known more so it can gain more clients. This study aims to promote the Lenjotzkie Studio as they are

bringing local comic art into the global market.

● For Local Aspiring Artist

This study is significant for local aspiring artists, especially those looking to make their mark in the

comics industry. By producing a digital comic about their journey, which will be published on the website

that was intended to be used, Lenjotzkie Studio will also be able to share the stories of their development,

challenges, and successes.Additionally, the website will offer advice and details on comic art equipment

and techniques. The goal of the campaign is to inspire people to overcome challenges and pursue creative

careers. The study highlights the importance of persistence, self-belief, and passion, offering valuable

lessons for artists striving to make their work known. Eventually, this research will help boost the Filipino

comics industry by providing encouragement to aspiring Filipino comic artists, which in turn helps to

encourage creativity and creates employment opportunities in the creative industry.

● For Clients

This study can help potential future clients of Lenjotzkie Studio by informing them about the

studio and what it has to offer.

● Creatives
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Creatives can be motivated by this study to help more emerging local comic book studios, such as

Lenjotzkie Studio, also to provide them with ideas on promoting studios.

● Future Researchers

Future academics working on related topics will find this study to be a useful resource when

creating an advertising strategy or promoting their clients' businesses to gain more recognition. This study

can be used as a primary resource for a study in the same field of study as well as a research references

1.6. Scope and Limitations

Lenjotzkie Studio will also be able to tell the stories of their growth, challenges, and accomplishments

by producing a digital comic about their story that will be posted on the website that was intended to be

used. The website will also provide information and advice on comic art tools and methods. The goal of

the campaign is to inspire people to overcome challenges and pursue creative careers. Lenjotzkie Studio

will also be able to tell the stories of their growth, challenges, and accomplishments by producing a digital

comic about their story that will be posted on the website that was intended to be used. The researcher will

collect data from 100 to 120 artists that live in Metro Manila, who are participating in commissioning

and being commissioned by other artists. The study will utilize social media platforms to distribute Google

Forms as the primary data collection method. The participants will not be limited by gender, age, social

status, or other conditions. Other issues that are not relevant to the subject will not be covered in the

study.
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Chapter 2

Review of Related Literature

2.1 Definition of Terms

Website - A collection of linked, publicly accessible web pages with a common domain name is

called a website. A person, group, company, or organization can design and manage a website for a

number of reasons. A "web presence" or just a "site" are other names for a website.

Comic Art - Refers to both sequential art and comic books. It is the process of creating visuals

with a story that the general audience is meant to read.

Advertising Campaign - A well-planned strategy that is implemented across multiple platforms

to achieve specific goals like better communication within a particular audience, higher sales, and greater

recognition of the brand.

Advertising Strategy - An advertising strategy is an organized strategy to reach your target

audience and persuade them to purchase your goods. A well-planned advertising strategy not only conveys

the benefits of your product but will also persuade your customers to choose your product over the

outcomes of your competitors.

Promotional Tool - Promotional material, events, or ideas are designed to increase the sales of a

product or service.
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Graphic Service Company - A specialist agency or studio that provides a wide range of design

services is known as a graphic design company. These services include everything from designing websites

and logos to producing infographics and marketing collateral.

Art Commissions - When a customer hires an artist to produce a piece of personalized art

according to their demands.

Brand Recognition - In advertising and marketing, the term "brand recognition" refers to the

ability of consumers to identify a brand by visual or audible cues such as logos, packaging, colors, slogans,

or jingles.

Digital Hub (In Context of Art) - refer to a platform for artists to interact, a shared workplace

for creative enterprises, or a resource for digital art education.

Global Market (In Context of Art) - A complex network of buyers and sellers involved with

goods, services, and art trading.

2.2. Review of Related Literature

A career in arts may be hindered due to several types of challenges faced by aspiring Filipino

comic artists. (The decline of the Philippine comics industry started when television started to increase in

popularity, which displaced comics as a primary source of entertainment ) Lack of recognition and

support from the local art scene is a major problem, which often results in their work being

underappreciated. A fewer chances for exposure and career growth can be a result from this lack of
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appreciation. Another serious problem is financial shortage, so many aspiring artists are discouraged from

pursuing their dreams because of believing that the field of arts offers little financial benefit. It is difficult

for artists to support themselves entirely through their work because they are struggling financially.1 Being

recognized globally is extremely important for comic book artists because it increases their exposure and

opens up more opportunities for them. It also helps to have a sustainable career because local comic book

artists in our country earn minimal incomes. However, it is good to start on our local readership first

because prioritizing recognition from people in our own nation is vital. Comic book artists might benefit

from being well-known in their native country since it allows them to interact with their local audience,

who frequently show a strong interest in the humor, language, and cultural topics of their work. This

relationship produces loyal fans, offers funding, and opens doors for collaborations with local media and

publishers. 2 Sharing and supporting each other was one of the best ways to encourage them to continue

pursuing their dreams. As many Filipino comic artists accomplish their goals, they learn the skills required

to improve their art, showcase it to a larger audience, and earn a living from it. Instead of keeping that

information undisclosed used it to motivate, encourage, and fuel other artists who aspire to the same goals.

3. Aspiring comic book artists need to have a clear vision of their objective as a guide and source of

inspiration for the path that they will take. This clarity is important because it will give the artists a

purpose and help them overcome the obstacles that they will inevitably encounter on their path to success.

In reality great determination is needed to overcome challenges and also disappointments may waver,

making it difficult to realize their goals. Comic book artistry is very tough and demanding, requiring

relentless determination, creativity, and resilience. By fostering a strong sense of direction and motivation,

artists can remain dedicated in their journey, turning aspirations into reality despite the odds. 4. Creating a
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comic book to encourage other aspiring Filipino comic book artists can also be an effective way of reaching

out to them; reading about the journeys of other comic book artists who once shared their goals and were

successful can help them realize they are not alone in experiencing challenges in achieving their dreams. In

addition, providing amusement is not just the main benefit of reading comics and graphic novels, as it says

it is also responsible for forming young brains. Their combination of storytelling and visual art promotes

literacy by captivating reluctant readers and igniting a passion for reading through lively, engaging

narratives. Along with improving comprehension and creativity, the visual structure of these works fosters

critical thinking in young reader’s minds as they examine plots, characters, and conflicts. Comics offer

social interaction opportunities in addition to personal advantages, allowing anyone who reads to connect

over common interests, talk about challenging issues, and also examine moral and ethical dilemmas in an

actual environment. This social component fosters social and emotional intelligence,

demonstrating how comics may be an effective tool for education and personal development. 5.

Determining your readership also gives you the chance to conduct target marketing, knowing the

emotions and what the readers wanted to feel is important. It can somehow build a connection between

the readers and the comics that they are reading. This may have a stronger effect on them if they can

resonate with the characters, circumstances, or emotions, it enhances the overall reading experience. The

reader's emotion was important, It can somehow build a connection between the readers and the comics

that they are reading. This may have a stronger effect on them if they can resonate with the characters,

circumstances, or emotions, it enhances the overall reading experience. Readers might feel validated when

they see their struggles, joys, or challenges reflected in the story as also seeing characters overcome similar
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obstacles can inspire them to tackle their own challenges with renewed determination and hope. Comics

that depict similar situations can offer readers strategies, insights, or alternative ways to approach their

challenges, functioning as a form of guidance or advice. 6. Characters are the heart and the soul of comics,

one of the main ways that readers can relate to the story is because of them. portrayed flat characters with

little facial expressions; readers did not begin to develop emotional connections with characters beyond the

story until authors took the time to create unique, complex personalities. Character design ideas were still

relevant today and were incorporated into comics as they continued to develop popular pop culture

media. Characters that are visually unique are guaranteed to be instantly recognizable and memorable

when time

is spent perfectly in their creation. But it is just as important to give them organic and rich personalities. 7.

Filipino comic artists said that comics from our country focus more on the

plot, which includes relatable topics like family, than on the art style, which is different from manga. “The

Philippines is in a unique position where we consume a wide variety of content from other cultures, and I

believe that the country does a great job of absorbing many of those styles." We are aware that Western and

Manga comic art styles influenced our nation's comic book art, but we adapted them to incorporate

elements of our own history, culture, and social concerns. The majority of stories speak to Filipino humor,

values, and traditions. 8. According to some Filipino comic artists based on their experience, they believe

that accessibility is a major obstacle for our country when it comes to promoting their works. For example,

a country like Japan, or other East Asian nations, has a thriving comics industry because, in their opinion,

there are virtually no barriers to accessing these works; they are sold in convenience stores, and more

recently, there has been a push for online apps that allow people to read them legally for a small
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subscription fee. And, while social media exists, at the end of the day, we are all sort of slaves to the

algorithm. Therefore, building and maintaining a following is challenging. Artists are not supposed to use

social media platforms like Instagram and X. There, they can share their artworks through that

application, but there are also selfies and vacation photos posted by others. Therefore, even though there

are many artists using those platforms to promote their works, it is not the exact place to look for art.

Majority of comic book artists in the Philippines are self-published and receive little or no support in

sharing and selling their work. 9. The evolution of comics was further influenced by the growing

capabilities of smartphones, as comic apps provided viewers with easy methods to access for reading

comics. In order to give solutions to the limitations of digital platforms, including screen widths and page

length limits, the authors started editing their work to fit the required formats. They also experimented

with screen splitting to improve readability. While new forms like strip comics were created especially for

mobile reading, four-frame comics, which are known for their brief storytelling, went through a comeback

because they adapted well to vertical scrolling. Furthermore, when multimedia features were introduced,

dynamic comics emerged, combining traditional graphics with interactive elements and animations.

Thanks to the digital revolution, comic book artists now have more creative options. The comic art

landscape has expanded in terms of styles and storytelling approaches 10.As the artistic community

continually evolves to keep up with the new technologies and current trends. Artists in the Philippines are

embracing the digital era as a vent for creative expression and expanding their explorations beyond

traditional mediums. For Filipino artists, the arrival of digital art has created a whole new realm of

opportunities, enabling them to experiment with new techniques and push limits. Besides using Facebook,
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Instagram and other types of social media there is another digital platform that can be a tool for promoting

comic art and services such as free applications that are

dedicated for comic artists or websites with free access for comics to share works and also for reading. 11.

Website is one of the marketing tools that is essential for comic artists, especially Filipino comic artists.

Website serves as a complete entry point for promoting yourself and your work, allowing potential clients,

collaborators, and fans to view your comic book artwork, concept sketches, and character biographies.

Some comic artists say that building websites, backed by sales of collectible t-shirts, stickers, or mugs, is an

opportunity for many independent artists to build a fan base and, ideally, attract a producer who will

consider their work. You may showcase your artwork without being restricted by third-party websites

when you own your platform, guaranteeing that it will appear just the way you want it to. 12. Before

creating a website, put in mind that, Websites are certainly important for exhibiting work, engaging with

audiences, and developing a personal brand, but it is only a part of the solution for marketing your art. A

lot of artists, including comic book creators, are still figuring out how to use their websites most effectively

when combined with other marketing channels like social media. An advanced, well-maintained website

cannot assure success, as demonstrated by the fact that several successful comic book artists have simple or

outdated websites. In this case, success is quite subjective and particular; what suits one artist could not

suit another. The main point is that a website is only one instrument in a larger marketing plan, and its

usefulness depends on how effectively it complements an artist's unique vision and career goals, rather

than in meeting a specific, universal standard. 13. To ensure greater success, you need to do more than just
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put your comics on your website. Online content availability is only the first step; advertising is necessary.

Without actively sharing your work, you cannot expect others to locate it on your website. Other Social

media sites like Facebook, X, and Tumblr can be benefits for promoting your work, as it can attract more

audience, and also encourage interaction in the current digital era. These sites are great for reaching a larger

audience because they have large, active user populations that may help promote your comics. Basically,

producing excellent content is only a part of the solution; exposure and possible success are driven by

effective social media promotion.

2.3. Conceptual Framework

2.4. Theoretical Framework

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Fig. 1.1 The AIDA Model for INKcredible Tale: Advertising Campaign for Lenjotzkie Studio In

Motivating Aspiring Filipino Comic Artists Through Website Platform.

The AIDA or stands for Attention, Interest, Desire, and Action: The four components of the

AIDA model form the backbone of many great marketing strategies. This advertising formula was laid out
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by eventual Advertising Hall of Fame inductee Elias St. Elmo Lewis in 1898, More than a century later, it’s

still a solid framework to write marketing copy that attracts and engages customers, generates leads, and

closes deals. This four-stage model is based on the hierarchy of effects theory, meaning that customers have

to move through each stage to complete the final desired action. Like a typical marketing funnel, each stage

has fewer consumers than the previous one; unlike a marketing funnel, it’s more linear and doesn’t have as

much flexibility in accommodating different user journeys.

Schema Theory

Fig. 1.2 The Schema Theory Model for INKcredible Tale: Advertising Campaign for Lenjotzkie

Studio In Motivating Aspiring Filipino Comic Artists Through Website Platform.

The Schema theory is a psychological model that explains how people arrange and understand data

according to their past experiences and knowledge. By connecting new information to previously learned
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knowledge, schemas serve as mental shortcuts that help with the processing of new information. In

advertising, Schema Theory can be used to quickly capture attention and establish a connection by

leveraging familiar concepts, images, or ideas.

Effective use of Schema Theory will make your advertisements likable to the viewer, using comedy

and familiarity to make the message memorable and powerful. Since our study will use Schema Theory,

incorporating memes or well-known characters from TV series or movies will be applied on social media

posting as a part of an ad campaign for Lenjotzkie Studio.

Lasswell’s Model of Communication Theory

Fig. 1.3 The Lasswell’s Model of Communication Theory for INKcredible Tale: Advertising Campaign

for Lenjotzkie Studio In Motivating Aspiring Filipino Comic Artists Through Website Platform.
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The Lasswell's Model of Communication Theory is a straightforward framework that

communication theorist Harold Lasswell created to help explain the components of the communication

process.

The process and marketing of the Lenjotzkie Studio ad campaign will be inspired by Laswell's

Model of Communication. The researchers will be able to further improve Lenjotzkie's Studio's objective

to inspire other young Filipino artists by creating comics with the help of this framework. Moreover, it will

help the researchers' development of effective techniques for creating a digital comic while reducing the

possibility of mistakes being made.

The researcher and Lenjotzkie Studio are the source or communicator while the message was to

inspire, and the comic that will be made is the channel for the aspiring artist. The primary target or receiver

is the aspiring comic artist, which includes local Filipino artists, especially those hoping to enter the comic

industry, and the intended effect is to encourage these artists to pursue their creative aspirations,

contribute to the growth of Filipino comics, and acknowledge Lenjotzkie Studio as a source of inspiration

and support for their journey.

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Chapter 3

Methodology

3.1. Research Design

The researchers will use a mixed method approach in their research, combining exploratory,

descriptive methods. Among the strategies were survey forms, which are the most popular technique for

descriptive research. The study was conducted out in a way that excluded the researchers from modifying

or changing any variables of the study.

3.2. Research Locale

The Researchers from “INKcredible Tale: Advertising Campaign for Lenjotzkie Studio In

Motivating Aspiring Filipino Comic Artists Through Website Platform” are conducted in various settings

that correspond to the campaign's target demographic. During the second week of April, the campaign

will be held in the Technological University of the Philippines - Manila. It is a location that offers a various

type of artists specifically from Cafa Department which is the research target sample, The research

attempts to directly connect and resonate with the desired audience by setting up booths and presenting

the campaign materials

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3.3. Research Population and Sample

The participants in this study contain Artists of all genders and ages that live in Metro Manila who have

agreed with our Terms and Conditions, 100-120 participants will be involved in the study. Purposive

sampling was employed for selecting the study's sample which belongs to the specified demographic

categories. , providing priority to participants who were interested in and willing to complete the survey.

3.4. Instruments

Data on artists of all ages and genders will be gathered for this study through surveys and

interviews. The researchers create survey and interview questions for artists in Metro Manila, to find out

about their opinions on how to make an effective website for the advertising campaign for the Studio and

how to draw in more new customers, and what kind of comics work best for the Lenjotzkie Studio story.

Participation will be collected via google forms with the questions as follow:

Name:

Place : ( NCR )

( Other Regions)
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1. As an artist, are you the ?

● Freelancer

● Client (e.g., commissioning or hiring artists)

● Both

2. What medium(s) do you primarily use? (Check all that apply)

● Traditional (e.g., pencils, watercolors, oil paints)

● Digital (e.g., Photoshop, Procreate, Illustrator)

● Mixed Media (combining traditional and digital)

● Other (please specify)

3. Which of the following best describes your role as an artist?

● Writer (e.g., scripts, storytelling)

● Illustrator (e.g., character design, background art, painting)

● Comic Creator (e.g., manga artist, webtoon creator)

● Multimedia Artist (e.g., animation, 3D art)

4. Where do you usually discover new artists? (Check all that apply)
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● Social media (e.g., Instagram, Facebook)

● Exhibitions or events

● Recommendations from friends

● Online platforms (e.g., Behance, ArtStation, Twitch, Discord, Reddit)

● Other (please specify)

5. What platforms do you use to promote your commission work? (Check all that apply)

● Social media (e.g., Instagram, Facebook)

● Exhibitions or events

● Personal website or portfolio

● Word of mouth or referrals

● Online platforms (e.g., Behance, ArtStation, Twitch, Discord, Reddit)

● Other (please specify)

6. Which of the following advertising methods catches your attention most when it comes to art

advertisement?
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● Social media ads (e.g., Facebook, Instagram)

● Short video reels or TikToks

● Posters or physical advertisements

● Others (please specify)

7. What type of short video/reels content do you prefer for art studios? (Check all that apply)

● Behind-the-scenes processes

● Artist interviews or Q&A

● Speed drawing videos

● Funny 2d animated video

● Meme based content

● Tutorials or how-to videos

8. What kind of content inspires you to create art?

● Stories or narratives

● Challenges or art prompts

● Collaborations or group projects

● Seeing others' art progress or success

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9.What motivates you to follow or support an art studio?

● Unique art style

● Engaging content or personality

● Inspirational stories or values

● High-quality or professional work

● Other (please specify)

10. What challenges do you face when marketing yourself as an artist who accepts commissions? (Check all

that apply)

● Reaching the right audience or potential clients

● Standing out among other artists in a competitive market

● Setting fair and reasonable prices

● Managing client inquiries and communication

● Balancing commissions with personal projects

● Lack of tools or platforms for promotion

● N/A (Not Applicable)

● Other (please specify)

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11. Why do you commission other artists? (Check all that apply)

● To collaborate on creative projects

● For inspiration or to learn from their techniques

● To support fellow artists within the community

● To obtain unique, personalized artwork

● As a gift for someone

● N/A (Not Applicable)

● Other (please specify)

12. Which comic art style do you prefer?

A. B. C.

13. What panel layout style do you enjoy most in comics?

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● Traditional (uniform, structured panels)

● Dynamic (varied, experimental panels)

● Vertical scroll (popular in webtoons)

● Other (please specify)

14. What level of dialogue do you enjoy in comics?

● Minimal dialogue, with more emphasis on visuals

● Balanced dialogue and visuals

● Dialogue-heavy, with detailed story exposition

● Other (please specify)

15. What visual elements catch your attention the most in comics?

● Detailed backgrounds and settings

● Unique character designs

● Experimental panel layouts

● Minimalistic art with strong storytelling

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Qualitative questions for the Interview

1. How do you typically discover new artists or studios, and what draws you to them?

2. What do you think makes an artist stand out in the competitive art world, especially when promoting

commission work?

3. What challenges have you faced when promoting your artwork, and how have you overcome them?

4. In your opinion, what is the most effective way to engage potential buyers or followers in the art

community?

Do you rely on consistent posting, giveaways, collaborations, or other strategies?

5. What kind of comic art style resonates most with you, and why do you find it appealing?

6. Can you describe the elements of a comic that grab your attention the most? What would make you

keep reading a comic series?

7. How do you feel about integrating humor or memes into comics? Does this affect your interest in

reading them?
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8. How important is the pacing and layout of comic panels to your overall reading experience?

9. Can you describe the ideal experience when visiting an art-focused website? What would make you stay

and explore more?

10. What would make you return to a website after your first visit? Are there certain features that would

encourage you to revisit frequently?

In order to gather accurate data, researchers stated that the participants must answer the survey

honestly and truthfully. In the form, it is included that while there might not be any direct benefits to the

participants, their participation will greatly contribute to the study.

The researchers believed that the team is committed to ensuring that the study is conducted ethically and

responsibly.

3.5. Advertising Campaign Development

Double-spaced, EB Garamond, 12 pts, flush left, ragged right alignment. Follow the MLA 9th

edition styles both for integral and non-integral citations. You may opt to use footnotes if deemed

necessary, but in-text citation is more encouraged in this format. Follow these styles all throughout the

manuscript. Remember to support your arguments with passages from the text when presenting the
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information. These can be brief quotations, but you should write in your own words a few times.

References to critics' assessments of this work enhance the content of your essay. Always avoid making

broad generalizations and emotionally charged remarks. Maintaining objectivity and accuracy in research

is important. By contrasting the piece with other works of literature and art in the main section, you can

demonstrate your knowledge. You can express both your aesthetic impression and your assessment of the

assigned work in the central section of the paper. The whole submission should not be more than 175

pages and not be less than 150 pages. (inclusive of references).

3.5.1. Ideation Stage

Double-spaced, EB Garamond, 12 pts, flush left, ragged right alignment. Follow the MLA

9th edition styles both for integral and non-integral citations. You may opt to use footnotes if

deemed necessary, but in-text citation is more encouraged in this format. Follow these styles all

throughout the manuscript. Remember to support your arguments with passages from the text

when presenting the information. These can be brief quotations, but you should write in your

own words a few times. References to critics' assessments of this work enhance the content of your

essay. Always avoid making broad generalizations and emotionally charged remarks. Maintaining

objectivity and accuracy in research is important. By contrasting the piece with other works of

literature and art in the main section, you can demonstrate your knowledge. You can express both

your aesthetic impression and your assessment of the assigned work in the central section of the

paper. The whole submission should not be more than 175 pages and not be less than 150 pages.

(inclusive of references).
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3.5.2. Advertising Campaign Objectives