DIGITAL & SOCIAL MEDIA COMMUNICATION: TASK 3
03/06/2026 – 22/07/2026 (Week 7 – Week 14)
Valerius Ethan Wirawan / 0372774
Bachelor of Design (Honours) in Creative Media
Digital and Social Media Communication (COM61804) / School of Design
Assessment Task 3: Group — Campaign Proposal, Content Calendar and Key Visual Design
Individual Contributions: Project Photographer, A02, A04 and A06
TABLE OF CONTENT
1. LECTURE
1.1. Week 7 — Social Media Content Planning
Task 3 introduced the process of planning a complete social media campaign. Designing attractive posts was not enough; every content piece needed a strategic purpose, a suitable platform, a position in the campaign sequence and a clear audience action.
Designing without a clear strategy results in a purposeless post.
The campaign needed to be considered from three perspectives:
- Client Proposal Mindset: explain how Padini should communicate during August 2026.
- Social Media Manager Mindset: consider how the audience will discover, understand and interact with the content.
- Designer Mindset: create a visually consistent and engaging experience for the intended audience.
1.2. Campaign Structure and Content Pillars
A campaign should guide the audience through a connected journey instead of publishing unrelated posts. We were encouraged to use a balanced content system and avoid repeating the same promotional message. The 70/20/10 principle was introduced as one way to balance useful, interactive and experimental content.
Our final brief organised the campaign through five phases:
- Awareness: introduce the brand and campaign idea.
- Interest and Education: provide useful styling or product information.
- Engagement: encourage participation, voting, comments or interaction.
- Action and Conversion: reduce hesitation and guide the audience towards the online store.
- Social Proof and Recap: build trust and close the campaign with memorable content.
1.3. Visual Consistency
A campaign produced by several designers needs a shared visual system. The moodboard, colour palette, typography, photography style, layouts and tone of voice should allow the separate posts to appear as one campaign.
Consistency does not mean that every post must look identical. Each format can respond to its platform and objective while retaining recognisable visual relationships. This became important because the final campaign contained static carousels, Stories, motion graphics and short-form videos.
1.4. Social Media Formats and Danger Zones
Content needs to be reviewed within the intended platform interface. Important text, products and calls to action should not be placed behind captions, usernames, profile icons, like buttons or other interface elements. Vertical Reels and Stories require different safe areas from 4:5 feed posts.
Platform testing therefore became part of the design process. A composition that looked balanced in Illustrator or After Effects could become unclear after being placed inside Instagram or TikTok.
1.5. Call to Action and Audience Journey
Each post needed to guide the audience towards a meaningful next step. Possible actions included swiping a carousel, voting in a poll, commenting for a guide, saving a styling reference, viewing a product code or visiting Padini's website.
The call to action needed to support the content rather than appear as an unrelated sales message. Useful information could first reduce uncertainty or build interest before directing the audience towards online shopping.
1.6. Weeks 8–14 — Campaign Development
The remaining weeks focused on campaign references, moodboard development, the content calendar, design tracking, photography, video production, visual refinement, platform testing and the final campaign pitch. We were expected to document the development process and explain how each design responded to the brand analysis and selected persona.
2. INSTRUCTION
Task 3 required each group to develop a complete August 2026 social media campaign for its assigned brand. The campaign needed to apply the findings from Task 1 and Task 2 to a realistic content strategy, calendar and set of connected key visuals.
The group was required to:
- Develop a complete social media calendar covering August 2026.
- Include the date, day, time, platform, format, objective, caption direction and posting purpose.
- Create a campaign concept connected to Padini's identity and Lauren's audience insight.
- Organise the content through five campaign phases.
- Produce ten connected social media contents.
- Maintain a consistent colour direction, typography, image style, layout and campaign message.
- Prepare a final presentation deck for the Week 14 panel session.
Each student was required to produce at least two key visual designs. The designs could not appear as unrelated posters; every piece needed a role in the campaign and a clear connection to the audience journey.
The final presentation needed to include:
- Cover and group information.
- Padini's brand introduction and identity.
- Competitor and social media analysis.
- Key findings from Task 1.
- Lauren's persona and empathy-map insights.
- The campaign problem and opportunity.
- The campaign big idea, objectives and message.
- The five content phases and August calendar.
- All ten key visual designs with their rationales and audience actions.
- Platform mockups, expected impact and conclusion.
The group submitted the final campaign files on 20 July 2026. The presentation took place on 22 July 2026 during Week 14.
3. PROCESS WORK
3.1. Connecting the Research to the Campaign — Week 7
Task 1 identified that Padini had strong affordability, product variety and retail accessibility, but its social media communication lacked a distinctive personality. Task 2 selected Lauren Alyssa Tan, a 35-year-old millennial working from home who values convenience, comfort, clear information and reliable online shopping.
Lauren did not need to see more fashion choices. She needed help choosing the right option. This suggested that Padini could become a trusted styling shortcut by providing practical outfit ideas, clearer sizing information and realistic lifestyle content.
3.2. Campaign Big Idea
The campaign was titled The Work-Life Wardrobe. It positioned Padini as the practical fashion solution for millennial women whose professional and personal routines take place across the same spaces.
The campaign period was 1–31 August 2026. Instagram and TikTok were selected as the main social platforms, supported by Padini's website. The content focused on work-from-home outfits, mix-and-match styling, sizing confidence, testimonials and campaign-recap content.
The campaign objectives were:
- Increase trust in Padini's online shopping experience.
- Improve engagement through relatable styling content.
- Encourage website visits and online purchase consideration.
- Build a clearer work-from-home lifestyle identity.
- Help customers feel more confident choosing outfits online.
3.3. Campaign Moodboard and Visual Direction — Week 8
The visual direction used a warm, clean and approachable style that connected comfort with professionalism. The palette combined dark blue, warm off-white, beige-grey and cool neutral tones. Cormorant Garamond was selected as the serif typeface, while Montserrat supported the campaign with a modern sans-serif system.
The campaign tone was:
- Clean
- Minimal
- Curated
- Relatable
The visual references showed comfortable clothing within realistic routines rather than presenting the garments only as catalogue products. This allowed the designs to connect more directly to Lauren's daily life.
3.4. Content Calendar and Campaign Flow — Weeks 8–9
We planned ten contents across August. The posts moved from introducing Padini's online store, through outfit education and interaction, towards sizing confidence, testimonials and campaign closing.
| Code | Content | Phase | Platform |
|---|---|---|---|
| A01 | Padini one-stop shopping introduction | Awareness | |
| A02 | Comfortable and professional WFH clothing — my work | Education | |
| A03 | This-or-that WFH outfit poll | Engagement | Instagram Story |
| A04 | Outfit rotation and styling interaction — my work | Engagement | |
| A05 | Mix-and-match carousel | Activation | TikTok |
| A06 | Sizing guide, Part 1 — my work | Activation | Instagram Reel |
| A07 | Online shop and sizing guide, Part 2 | Activation | Instagram Reel |
| A08 | Customer testimonial | Social proof | Instagram Story |
| A09 | Get Ready With Padini | Social proof | TikTok |
| A10 | Top five WFH outfits and closing recap | Closing | Instagram Reel |
The content tracker allowed us to assign responsibilities, organise file names, establish internal deadlines and compare the designs. It also helped us check whether the ten posts followed one narrative rather than appearing as separate exercises.
3.5. Photoshoot Session 1 — 15 June 2026, Week 8
The first photoshoot focused mainly on the static campaign contents. We prepared clothing combinations, hairstyles, props and pose references. A sofa, laptop, notebooks, phone, earphones and other everyday objects established a work-from-home atmosphere.
I was the project photographer and was responsible for the principal still images. I prepared the Fujifilm X-T3, checked the framing and exposure, worked with the group to direct poses, and captured enough horizontal and vertical variations for different content formats.
Angelique supported the photography equipment and production process, while Ashley and Anggia concentrated on styling, preparing the clothing combinations and checking that the garments remained neat and suitable for a fashion catalogue.
3.6. Photoshoot and Video Session 2 — 1 July 2026, Week 11
The second session completed the remaining photographs and video footage based on the moodboard and storyboards. Because of location complications, we adapted Taylor's Common Ground café to represent a clean and comfortable working environment.
The session required us to maintain the appearance of a work-from-home campaign even though we were working within a public café environment. Framing, props and the model's actions were used to reduce distracting location details and preserve the intended lifestyle.
3.7. Photography Selection and Lightroom Development
Import and file organisation
After the shoots, I imported the Fujifilm RAW files into Adobe Lightroom Classic. The original RAF photographs were retained while the adjustments were developed non-destructively. I organised the images as one campaign set so related sequences could be compared efficiently.
Culling and image selection
I reviewed the photographs for sharpness, facial expression, pose, garment visibility, hand position, background distractions and usable negative space. Similar frames were compared closely because the chosen photographs needed to support product callouts, carousel layouts, background removal and motion compositions.
Crop and alignment
I corrected the framing and alignment before applying detailed colour adjustments. The crops needed to support both 4:5 and 9:16 formats without removing important garment details. Where possible, I retained enough space for text, product information and platform-safe areas.
Exposure and tonal correction
Highlights were reduced where necessary to retain texture in the ivory and light-coloured garments. Shadows were opened carefully so the dark trousers and supporting objects remained visible. The contrast was kept controlled because a harsh commercial treatment would conflict with the warm, comfortable work-from-home direction.
White balance and skin tone
Mixed interior lighting created differences between frames. I adjusted the temperature and tint to maintain natural skin tones and prevent the neutral garments from appearing excessively yellow, green or blue.
Campaign colour development
I refined the ivory, beige, blue and dark garment colours so they remained consistent with the campaign palette. Vibrance and individual colour channels were adjusted selectively instead of applying strong global saturation. This helped preserve a realistic fashion-photography appearance.
Lens correction, sharpening and noise control
Lens corrections were applied where required, followed by moderate sharpening and noise reduction. The objective was to retain garment texture without making skin or background details look artificially sharp.
Synchronisation and individual refinement
Related photographs received a shared correction foundation to maintain consistency. Each selected image was then fine-tuned individually because the model's position, orientation and available light changed across the shoot.
Export and design handoff
The selected photographs were exported as full-resolution JPEG files. The verified exports retained dimensions of 6240 × 4160 or 4160 × 6240 and recorded Adobe Lightroom Classic in their metadata. These files became the photographic base for Photoshop compositing, Illustrator layouts and After Effects motion work.
MY INDIVIDUAL CONTENT DEVELOPMENT
3.8. A02 — Work-From-Home Comfort Wear
Purpose and format
A02 introduced clothing that felt comfortable at home but remained presentable during online work. It was developed as a 4:5 Instagram carousel and scheduled for 2 August 2026. Its education role was to simplify Lauren's outfit choice at the beginning of the campaign.
Planning and photography
I selected a seated pose that communicated comfort and daily productivity. The model wore an ivory cable-knit sweater with dark lounge trousers. A laptop, phone, notebook and earphones supported the work-from-home narrative without making the scene appear excessively staged.
During the photography stage, I considered the garment visibility and the amount of space required for later product information. The pose needed to appear relaxed while still showing the featured clothing clearly.
Image selection and Lightroom preparation
I compared the available frames for focus, pose, expression and product visibility. The chosen image was colour-corrected in Lightroom with a warm neutral tone that supported the campaign moodboard. The subject and garments were kept clear while the overall contrast remained soft.
Photoshop compositing
The Lightroom export was taken into Adobe Photoshop for subject separation and compositing. I experimented with several background directions before choosing a warm interior environment. The background was softened and balanced so the model remained the main focus.
Product information and audience action
Product labels were added for the featured sweater and trousers. The labels connected the lifestyle image to Padini's online catalogue and made the post more useful. The intended audience journey was:
Swipe → View the product name and code → Become interested → Browse Padini's website
The caption direction focused on looking presentable without giving up comfort. This connected directly to Lauren's need for clothing that works during video calls and relaxed home routines.
3.9. A04 — Outfit Rotation and Styling Interaction
Purpose and format
A04 demonstrated how Padini clothing could support different parts of a work-from-home day. It was planned as a short 4:5 Instagram motion post and scheduled for 10 August 2026. Its engagement role was to encourage viewers to request a complete styling guide.
Planning and visual direction
I planned a rotating sequence supported by recognisable routine objects. A laptop and notebook represented work, a drink supported a break period, a clock communicated time, and a skillet represented a later daily activity. These objects allowed the content to communicate several moments without relying on long explanations.
Illustrator asset development
I organised the images, product elements, typography and supporting objects in Adobe Illustrator. The layouts followed the campaign's warm, minimal visual system. Each element needed sufficient contrast and spacing so the motion sequence would remain readable on a phone.
After Effects development
The prepared assets were imported into Adobe After Effects. I developed the rotations and transitions, adjusted the timing and tested whether the routine changes could be understood quickly. Sound effects were introduced to support the movement and make the transitions feel more responsive.
I repeatedly checked scale, negative space and the relationship between the objects and garments. The animation needed to remain simple enough for the outfit to stay central during the movement.
Call to action
The final audience journey was:
View the post → Comment “GUIDE” → Receive the styling guide → Continue engaging with Padini
This approach turned the viewer into a participant and created an opportunity for two-way communication instead of ending the interaction after the post was viewed.
3.10. A06 — Garment Size Guide, Part 1
Purpose and format
A06 addressed Lauren's uncertainty about choosing the correct size online. It was planned as a 19-second 9:16 Instagram Reel and scheduled for 18 August 2026. Its activation role was to reduce hesitation and increase confidence before visiting Padini's online store.
Content planning
The information needed to be direct, easy to follow and readable on a phone. The sequence showed how to measure correctly before selecting a garment size. The actions, measuring tool and clothing needed to remain visible within the vertical frame.
Filming process
We recorded the required actions according to the planned sequence. I checked that the important movements and garment details remained inside the platform-safe area. The footage was captured in separate steps so the final edit could maintain a clear instructional pace.
Premiere Pro editing
I selected the clearest footage and arranged the scenes in Adobe Premiere Pro. Each shot was trimmed to explain the action without making the video feel slow. The pacing remained direct while allowing enough time for the viewer to understand each measurement step.
The transitions and sequence were revised to improve continuity. The visual treatment remained clean and consistent with the wider campaign while prioritising the sizing information over decoration.
Audience journey and connection to A07
The final audience journey was:
Learn how to measure → Identify the right size → Feel confident → Visit Padini's website
A06 functioned as Part 1 of the sizing content. It led directly into A07, which continued the online store, filtering, sizing and checkout process.
3.11. Group Compilation and Platform Mockups — Weeks 12–13
After every member completed the assigned designs, we reviewed the ten contents as one campaign. The posts were arranged according to the August calendar and checked across Instagram feeds, Reels, Stories and TikTok.
The mockups helped us review how the designs would appear alongside interface elements. We adjusted text placement, product visibility, calls to action and negative space where necessary. This stage also helped us check whether the campaign message progressed logically from awareness to closing.
3.12. Final Presentation — Week 14
The final 46-page presentation brought together Padini's brand problem, Lauren's audience insight, the Work-Life Wardrobe campaign concept, objectives, moodboard, content calendar, all ten key visual applications, platform mockups and expected impact.
On 22 July 2026, we presented the campaign to the panel. We explained how the content moved from introducing Padini's one-stop shopping concept towards work-from-home styling, interaction, sizing confidence, social proof and online purchase consideration.
4. FINAL OUTCOME
4.1. The Work-Life Wardrobe Campaign
The final outcome was a complete August 2026 social media proposal positioning Padini as a practical, affordable and convenient fashion solution for millennial women working from home.
The campaign used Instagram, TikTok and Padini's website to guide the audience through awareness, education, interaction, action, social proof and closing. The ten contents shared one visual system while using formats appropriate to their individual objectives.
4.2. My Final Contributions
- Project Photography: principal still-image production, image selection and Lightroom colour development for the wider group campaign.
- A02: a 4:5 Instagram carousel presenting comfortable and professional work-from-home clothing.
- A04: a 4:5 Instagram motion post encouraging comments and styling-guide interaction.
- A06: a 19-second 9:16 Instagram Reel explaining garment measurement and sizing confidence.
4.3. Expected Campaign Impact
Recognition
The campaign aimed to make audiences more familiar with Padini as a modern, affordable and convenient one-stop fashion destination.
Engagement
Styling content, polls and comment-based actions encouraged sharing and two-way interaction instead of limiting communication to product promotions.
Confidence
Sizing guides, product information and realistic styling reduced uncertainty during online shopping.
Loyalty
Useful and relatable content could encourage continued engagement, repeated website visits and a stronger long-term relationship with the brand.
5. FEEDBACK
Week 7
The ten campaign contents needed to be distributed across the month at approximately two posts per
week. Each content needed a clear position in the campaign journey.
Week 8
A shared moodboard was required to maintain consistency across the different designers. We were also
encouraged to develop the layouts before adding the final model photography so production could
proceed efficiently.
Week 9
The content tracker, deadlines, file labels and asset organisation needed to be clearer. Every post
needed a narrative and a call to action rather than ending after the visual message was delivered.
Week 10
All ten designs needed a consistent palette, tone and minimal visual style. Static and motion
contents had to remain informative and intuitive. The layouts also needed to show how the audience
should move through the information.
Week 11
The group focused on completing the remaining photography and video footage. The production needed
to follow the approved moodboard and content plan.
Week 12
The motion work had improved. Brand logos needed to remain subtle so they did not distract from the
content. The designs also needed to consider social media interface danger zones. Unnecessary
negative space in the static layouts required further refinement.
Week 13
The final content needed to be organised in the correct campaign order across Instagram and TikTok.
During the presentation, we needed to explain the ten posts as one connected message rather than as
separate member contributions.
Week 14
Final campaign presentation day.
6. REFLECTION
6.1. Experience
Task 3 was the most production-heavy stage of the module because the strategy, photography, design, motion work, video editing and final presentation all needed to remain connected. The group had to manage ten contents across different platforms while maintaining one campaign identity.
Acting as the project photographer gave me responsibilities beyond A02, A04 and A06. I needed to produce a visual library that could support the whole group. This required me to consider the needs of the later layouts while taking the photographs, including garment visibility, pose variation, vertical framing and negative space for text.
My three individual contents allowed me to work across different production methods. A02 combined photography, Lightroom and Photoshop compositing. A04 required Illustrator asset preparation and After Effects animation. A06 involved instructional planning, filming and Premiere Pro editing. Working across these formats helped me understand how one campaign system can be adapted without making every post identical.
6.2. Observation
I observed that visual consistency begins before the design stage. The photography, lighting, colour treatment, styling and props already influence whether the final posts feel connected. The Lightroom workflow therefore became part of the campaign communication rather than only a technical correction stage.
Maintaining natural skin tones, neutral garments and a warm interior atmosphere helped photographs captured at different moments appear as one set. Synchronising a shared correction foundation also reduced unnecessary work when the images moved into Photoshop, Illustrator and After Effects.
I also observed that a social media design cannot be evaluated only inside the editing software. Text and products may appear balanced in a clean composition but become covered by interface elements. Platform testing was necessary to protect the call to action, product information and focal point.
6.3. Findings
My main finding was that useful content can strengthen brand relevance. A02 attracted attention through a realistic lifestyle, A04 encouraged participation, and A06 reduced uncertainty. Together, these pieces supported different stages of the same audience journey.
I also learned that content is incomplete without a meaningful next step. A visually appealing post may gain attention but fail to create engagement or conversion if the audience is not guided towards an action. The calls to swipe, comment, learn, save or visit Padini's website gave each piece a clearer strategic purpose.
Working with Lauren's persona showed me the importance of practicality, convenience, reliability and confidence. The campaign was not only intended to make Padini appear fashionable. It demonstrated how the brand could fit into a real work-life routine and make online shopping feel clearer and more dependable.
Valerius Ethan Wirawan / 0372774 / Digital and Social Media Communication (COM61804) — Task 3
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