「我世代」平面設計師行銷接觸點初探：以台灣某進口美術紙業為例

Abstract

台灣進口美術紙大約占50億新台幣的市場，各大紙業無不想盡各種方式來搶占市占率。而這兩年也因為全球新冠疫情的影響，人與人的接觸變少，方式也改變了，紙業過去一對一的拜訪方式，在疫情下也不得不稍做調整; 而整個印刷市場因也全球景氣衰退，經濟緊縮，企業印刷發案的對象也不斷在改變，來因應動盪快速的市場; 再加上台灣平面設計師例年來增加且年輕化，大量設計師獨立門戶，FREELANCE激增; 科技網路的日益發達，我世代年輕設計師資訊收集方式、價值觀也都在改變，對紙張相關資訊及應用方式的渴求，過去所提供的資訊已經無法滿足他們了 ; 而進口紙業也因大量的年輕設計師獨立門戶，客戶拜訪成本也在增加中; 鑑於上述種種因素，本研究特別找了設計師分別在六大產業中，以質化分析中的深度訪談法來訪談在企業、公家機關、廣告公司、設計公司、新銳設計師工作室、印刷廠中的平面設計師，藉以找出與他們間的行銷服務接觸點，消費者旅程，加以分析及整理，透過小修正或改良服務接觸點，並製成一目了然的新服務藍圖，以期能夠對業者有較全面性在接觸點建議，減少營業成本的增加，累積較多的利潤。This study draws on service blueprinting framework and consumer journey to identify new generation art designer’s service touch points in order to better understand how to satisfy these designers’ needs when choosing imported fine art papers. Focusing on Y and Z generations, this study argues that the two generations’ approaches in information gathering and sources are very different from X generation designers. While X generation designers tend to reply on the relationship and the trust built with the fine art paper companies they have been working with, art designers from Y and Z generations seem to be more interested in searching novel information online. Moreover, while X generation designers are often working for companies, Y and Z generations prefer freelancer style. It therefore creates much marketing costs for imported fine art paper companies to visit and develop relationships with every potential client (i.e., freelancers). As such, it is critical to identify Y and Z generations art designers’ service touch points in order to efficiently and effectively communicate with them. By conducting six in-depth interviews with Y and Z generations art designers, this study maps out service blueprinting for Y and Z generation designers that allows fine art companies to develop a comprehensive understanding of how to better contact and communicate with these young designers. It will further reduce the increase in operating costs and accumulate more profits for fine art paper companies.