Here’s some fantastic work from CP+B for A.1. Steak Sauce which is changing its name to, simply, A.1. Sauce. To make the move, the agency created a humorous video during which A.1., who is “in a relationship” with Steak decides to accept friend requests from others — such as salmon, green beans, lobster, bacon and many more — which ends up making things “complicated” for A.1.
But it all works out in the end when A.1. enters a “life event” by changing its label from A.1. Steak Sauce to, simply, A.1. Sauce.
We love the work but wonder why the brands label is still “A.1. Steak Sauce” when you go to their Facebook page.
(TrendHunter.com) The ‘Clug’ is a simple and elegant bicycle storage solution that aims to make bicycle storage simple rather than awkward. Created by Vancouver, Canada company Hurdler Studios, the Clug…
Após alcançar mais de 22 milhões de visualizações, o vídeo do cover de “Space Oddity” feito pelo astronauta Chris Hadfield foi removido do canal oficial dele no YouTube.
Isso aconteceu porque a permissão para uso da canção, concedida por David Bowie depois de um esforço coletivo da NASA, da agência espacial russa ROSCOSMOS e da agência espacial canadense, venceu ontem, e apesar dos apelos dos fãs do astronauta, não foi possível renovar a autorização do cover.
“Estamos tentando renovar a licença, mas não existem garantias para vídeos gravados no espaço”, brincou Hadfield no Reddit, esclarecendo a situação aos seus admiradores e citando um artigo da Economist que detalhava a complexa questão do copyright ‘espacial’.
Pessoalmente, acho curioso que um vídeo de tamanho sucesso não tenha recebido a autorização de Bowie para continuar no ar oficialmente. Com a suspensão do clipe no canal oficial de Hadfield, o que acontece é a intensa proliferação de cópias, que agora estão disponíveis em canais não oficiais do astronauta.
Hadfield foi o mais politicamente correto possível, e acionou sua base de fãs avisando que ontem era o último dia para apreciar a canção gravada por ele no espaço, mas a verdade é que isso não existe na internet. Depois de publicado, um item dificilmente consegue ser completamente removido da rede. Não teria sido mais proveitoso se os representantes de Bowie e Hadfield tivessem chegado a um acordo, quem sabe oferecendo um link direto para a compra da música na versão do astronauta, revertendo parte do valor para Bowie?
Hadfield fez um favor para Bowie, recuperando e de certa forma modernizando a canção para as novas gerações.
Arrisco até a dizer que Hadfield fez um favor para Bowie, recuperando e de certa forma modernizando a canção para as novas gerações (que talvez nem saibam que a canção é de David Bowie, mas tenham apreciado o timing e a sinergia entre o momento do astronauta e a profundidade da letra). Além disso, quando é que Bowie poderia ter um clipe de Space Oddity gravado do espaço?
Fica aqui o embed do vídeo oficial de Chris Hadfield, na esperança de que a equipe de Bowie reconsidere a questão, ouça o apelo dos fãs da versão espacial de Space Oddity e autorize novamente a divulgação do vídeo.
This week, Ann Wixley, creative director, OMD, soaks up inspiration in London’s rival city, New York, where she looks back on a year spent establishing a creative team.
Get out your Kleenex, because Ogilvy Amsterdam and funeral insurance company Dela have brought back their Cannes-conquering "Why wait until it's too late?" campaign—urging people to "say something wonderful" to those they love here and now.
One of three new long-form ads takes place at a concert hall, as a woman named Martine surprises her widowed father midway through the show by taking the stage and serenading him with a song expressing her admiration and affection. In another, elderly Leo, who has struggled with illness of late, appears poolside during his wife's exercise class to thank her for more than 50 years of companionship and devotion. Finally there's Mark, an overweight, bullied teen, who pays tribute to a special teacher who helped him overcome his social awkwardness.
These are real people, not actors, and their reactions are genuine (Martine's dad and Mark's teacher struggle to hold back tears), which ratchets up the emotional intensity, despite the fact that the approach is fairly restrained given the campaign's premise.
This is powerful stuff—an evocative concept expertly realized—though it makes me feel just a tad uncomfortable, like I'm peeking at intimate moments where perhaps I shouldn't pry.
Maybe my discomfort stems at least partly from the realization that there are people I haven't taken the time to thank and praise. By going so boldly public, the folks in these ads remind the rest of us that a few heartfelt words spoken in private can make all the difference.
Pour ce deuxième best-of de Mai, Fubiz vous a réunis les plus belles œuvres sur le thème du «Realistics Paintings». Une palette colorée réunissant les artistes les plus doués pour la peinture hyperréaliste. Des expressions humaines qui semblent être des photographies, des fruits et des objets plus vrai que nature.
Que Mac que nada! George R. R. Martin é um cara ‘roots’, e não precisa de mãozinha nenhuma para ser criativo.
Em entrevista no talk show americano Conan, o escritor contou que usa o WordStar 4.0, um processador de texto antiguíssimo, para escrever a saga de “Game of Thrones”.
Para você ter uma ideia, o WordStar era um conhecido editor de texto do começo da década de 80 (!), e que perdeu seu posto para programas mais robustos e eficientes a partir de meados de 1985.
Isso, contudo, não significa que Martin ficou parado no tempo. Além dessa máquina DOS com WordStar 4.0 rodando, ele possui um outro computador para usos mais tradicionais, como conferir emails ou navegar na web. A escrita, contudo, é feita exclusivamente na máquina mais arcaica. Como ela não se conecta à internet, isso também ajuda a manter o sigilo do desenrolar da história, já que é praticamente impossível algum hacker invadir um computador fora da rede mundial de computadores.
Além de não ter a irritação de um corretor de texto tentando corrigir a grafia de Targaryen, como brinca Conan, Martin provavelmente consegue ficar mais concentrado na história, já que evita as distrações com que nós, meros mortais, precisamos conviver ao digitar em nossos editores de texto moderninhos.
A propósito, se você quer ter a experiência de uma redação imersiva, mas não quer ~investir~ em um computador com DOS, existem programas interessantes, como o Ommwriter, FocusWriter, WriteMonkey, Q10 e WriteRoom.
Ukrainian startupper Alex Bessonov introduced an unusual device that will bring immersive watching experience for flat screen TV. Eye Flattener makes your eye the same shape as flat screen. To stop this madness Samsung made first Curved TV. Samsung Curved TV – picture that fits your eyes.
Ikea would like to remind you that the odds are pretty good your parents produced you by having sex on its furniture.
New print ads from the brand in Germany offer a twist on the family-tree motif, with pictures of Ikea beds—dating back to its first, from the late 1940s—inserted in between generations of ancestors. The tagline is, "Where family starts."
That's based on a fun fact—that 10 percent of Europeans were conceived on one of the brand's beds—unearthed by German agency thjnk, which created the campaign (and also made Ikea's clever space-maximizing RGB billboard earlier this year).
Each ad in the new series also features not just beds but one piece of Ikea furniture designed for another room in the house, because why be boring?
Full ads plus credits below.
CREDITS Client: Ikea Agency: Thjnk Chief Creative Officer: Armin Jochum Creative Directors: Torben Otten, Georg Baur, Bettina Olf Art Director: Niko Auf dem Berge Copywriter: Karl Wolfgang Epple Account Managers: Björn-Thore Bietz, Constanze Frink, Svenja Gollmer, Meike Freymuth Art Buyer: Lina Eggers Freelancer Photographer: Kerstin Lakeberg
In Peru women suffer from a huge prejudice in traffic. Men don’t waste an opportunity to be impolite when they see a woman behind the wheel. And since women there are the biggest customers of Everlast, for them they created the concept Defend Your World. To help these women defend themselves from chauvinistic drivers, they developed a special car there is a BIG PUNCH itself. It was driven by Natalia Malaga, athlete know by Peruvians for her strong temper. Every woman could denunciate a rude driver by using the hashtag #guantazo with the driver’s plate and location. Natalia would go after them with her big punch. The world GUANTAZO, that means big punch in spanish, became part of the popular culture. Even the Peruvian President asked Natalia to keep on giving ‘guantazos’ to those who deserve it.
No ano passado, a gente mostrou por aqui oRay-Ban Test-Drive Trams,uma ação idealizada pela DDB em Bruxelas com o mote “sem filtro, apenas Ray-Ban”, e que surpreendeu muita gente pela inteligência e simplicidade. É por este mesmo caminho que segue a BBDO de Bankok com o Light Adaptative Poster.
Criada para promover a linha de lentes que escurecem de acordo com o ambiente da Optic Square, a campanha conta com uma série de pôsteres que, como o próprio produto anunciado, se adaptam à luz. Quando a luminosidade é moderada, os óculos permanecem claros, transformando-se em óculos de sol quando a claridade aumenta.
If you’re an HBO subscriber or pirate, then you may enjoy watching one show because of how it depicts an awkward nerd’s attempt to change the world with a billion-dollar idea. That show, of course, is “Veep,” and the nerd is Gary, played by Tony Hale. What, you thought it’s “Silicon Valley?”
“Veep” shows the real vision — and Gary embodies the dream — of so many entrepreneurs and venture capitalists right now. Gary is the title character’s body man, the one who has everything for the vice president the moment she needs it. What’s most impressive about him, though, is his memory. He knows at least some salient information about everyone his boss has ever met or could meet. Just as she makes eye contact with another person and needs to greet them, Gary literally whispers their name and their most important personal or professional details into the vice president’s ear. It’s a game affectionately or mockingly dubbed “Garyoke.”
Don’t mock Garyoke. The most literal embodiment of Garyoke today is Google. Most importantly, it’s where Google is going, not where Google has been. If Google continues to be one of the world’s most successful companies into the 2020s, it’s because it will have mastered Garyoke.
In-store retail tracking is still in its nascent stages, but already it’s getting a bad rap. In fact, a recent study revealed that 67% of U.S. consumers think that in-store tracking “feels like spying.” With few restrictions — legal or otherwise– in place to mandate whether and how in-store tracking is implemented, it’s not uncommon for some stores to track without telling. The logic being, of course, that it’s easier to ask for forgiveness than permission.
Some stores engage in tracking onsite customers via their personal devices (most commonly using media access control, or MAC, address tracking). But in addition to feeling potentially invasive, in-store MAC address tracking is useless once the customer gets a new device and a new MAC address to go with it, making it impossible to measure the lifetime value of that customer. And even beyond the device lifecycle, customers are increasingly able to opt out of this tracking — much as they can opt out of tracking or disable cookies online — making this covert tracking even less effective than it had been very recently.
It’s not that all retailers are engaging in this under-the-radar behavioral monitoring, or that it’s always ineffective. It’s just that some of the most effective tracking, as OpinionLab CMO Jonathan Levitt recently pointed out, takes place out in the open, with customers asked to opt in. And in fact, when tracking is transparent, shoppers often see a value in it as well. Opt-in retail tracking has the potential to be as welcome to consumers as social media interaction. If retailers can make their relationship with customers two-way, so that they offer some sort of participatory value exchange to shoppers in the physical store, it will give shoppers an incentive to provide more information about themselves. And that information will be much, much richer than tracking data in a covert or anonymous fashion. In short, more transparent and participatory in-store experiences that ask shoppers to opt in and provide basic contact information will provide richer data that doesn’t just disappear when the next-gen smartphone comes out.
Daryna Kossar est une designer et photographe qui poste des photos de food art sur son compte Instagram. Des logos de réseaux sociaux faits de myrtilles, grenades et en tartine de chocolat, des poissons et des voitures citronnées, Mario et une robe à petits pois, son travail est plein d’imagination et de couleurs.
(TrendHunter.com) A Stuttgart-based German art director and designer named Christian Goldemann made it his mission to illustrate the “power or branding” in his latest series of altered logos.
China’s Tencent, the biggest listed Internet company in Asia, said net income soared 60% in the year’s first quarter, with growth propelled by mobile games and advertising.
The company on Wednesday also reported a jump in users of WeChat, a fast-growing and easy-to-use social app that blends aspects of WhatsApp, Facebook, Instagram and Skype. Now 396 million people use WeChat every month, up 12% from the previous quarter.
Of the world’s Internet companies, Hong Kong-listed Tencent is the fourth biggest by market capitalization, after Facebook, Google and Amazon. The company’s rivalry with e-commerce giant Alibaba has heated up competition and innovation in the Chinese tech sector, and the past quarter has been a busy one for Tencent: It announced it was buying a 20% stake in Dianping (China’s Yelp) and a 15% stake in JD.com, an e-commerce company that, like the much larger Alibaba, is planning an initial public offering in the United States.
O canal da FIFA no YouTube, a FIFATV, já colocou no ar a animação que será utilizada como abertura oficial das transmissões do evento. O trabalho, que aparece sem os devidos créditos, ficou bem bacana e independentemente dos sentimentos que cada pessoa tenha em relação à Copa do Mundo 2014 no Brasil, vale ser visto e apreciado como um projeto bem feito.
A animação mostra diversas capitais brasileiras que receberão os jogos, com pessoas jogando futebol e se divertindo. E como a própria descrição no YouTube já diz, será vista muitas vezes nas próximas semanas.
[ATUALIZAÇÃO] A gente até tentou inserir o vídeo aqui, mas a FIFA desabilitou a opção e só é possível assistir ao vídeo no próprio YouTube. Ponto negativo…
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
