The best selection of horror literature.
Advertising Agency: La Facultad, Ecuador
Account manager: Ivonne Burbano
Photographer: Ramiro Salazar
Photographer assistant: Mario Mena
Published: October 2014
Foster’s long-running ‘Good Call’ ad campaign starring Australian comedy duo Brad and Dan has won the top prize at this year’s IPA Effectiveness Awards.
Adam & Eve/DDB has taken the top prize at the 2014 IPA Effectiveness Awards for its tongue-in-cheek “good call” ad campaign for Foster’s, the Heineken-owned lager.
« Halloween Countdown » est une série de figurines réalisés par les studios d’animation anglais A Large Evil Corporation. De Shining à Orange mécanique en passant par Freddy, ces modèles tombent à point nommé à l’approche du jour où se sème la terreur, Halloween.
Thriller.
Carrie.
Don’t Look Now.
E.T.
The Shining.
What Ever Happened to Baby Jane?
A Clockwork Orange.
Model from The Mighty Boosh.
Freddy.
Hi, production companies and/or houses. We see you…and we’d like to have a quick discussion.
We know that it’s hard to get noticed in an industry that devotes most of its attention to the creative AORs and, of course, the clients. We’re aware that many of you are successful businesses with hard-working employees who are almost certainly just as talented as the people working at those agencies.
And we’re glad to post your work here, along with everyone else’s, so our readers can tear it apart anonymously.
That said, we need to establish a couple of things: you are distinct entities from advertising agencies. You know this and we know this. No matter how many press releases you send with YOUR staffers’ names conveniently placed above the names of the AOR’s team in the creative credits, we will not treat you as the equivalent of an advertising agency. This is not a good or bad thing; it’s just a thing.
If you’ve got some recent work you want to promote, you should feel free to send it for consideration with all the other stuff that lands in our inboxes.
But first, some basic guidelines: (more…)
New Career Opportunities Daily: The best jobs in media.
Advertising Agency: Publicis, Brussels, Belgium
Creative Directors: Tom Berth, Geert De Rocker
Creatives: Eva De Jonckheere, Catheline Leroy
Strategy: Annemie Goegebuer
Account Team: Sabrina Schuller, Maria-Laura Laubenthal, Jeannette Westerhout
Agency Producers: Marc Van Buggenhout, Tuyen Pham
Film Production Company: Czar
Director: Koen Mortier
DOP: Menno Mans
Executive Producer: Eurydice Gysel
Producer: Lander Engels
Production Design: Tanker
Editor: Martin Leroy
Post-Production: nozon
Sound: Cobra Radio Brewery
LeBron James is coming back to play for Cleveland and he wants you to know in as many commercials as possible.
At Twitter, a pattern is emerging: its ad business is growing at a steady clip, but it can’t get the number of users to grow or stick around.
The social media company posted $361 million in revenue, a 114% annual increase, according to its filing on Wednesday. Advertising revenues reached $320 million. Its other revenue bucket — “data licensing and other” — expanded by 171%, reaching $41 million. Mobile is now an even greater chunk of Twitter’s ad business, accounting for 85% of its overall ad revenue.
But Twitter hasn’t solved its nagging growth issue, with the pace of active user growth slowing slightly in the third quarter, as compared to the second quarter. During the quarter, which included July, the final month of the World Cup, the company added 13 million monthly active users, with three million coming from the U.S. It has 271 million total users.
« Surfaces » est une série de photos capturée par le photographe suisse Matthieu Gafsou. Cette série réunit une belle galerie d’images exposant l’architecture des bâtiments et de la nature de Tunisie. Les lignes sont épurées et souvent saturées, agrémentées de prises de vue de désert ou de touches d’un vert qu’on retrouve sur les pelouses et les palmiers.
F/Nazca Saatchi & Saatchi has launched a new campaign promoting Skol’s new Beats Senses beer.
At the center of the campaign is a broadcast spot crafted as an homage to Skol’s blue bottle. The ad shows a bizarre, surreal party, shot entirely underwater. (There is a shark on a leash. Repeat: There is a shark on leash.) To accomplish the unique look of the spot, F/Nazca Saatchi & Saatchi and PBA Cinema/Produtora Associados used “strategically located divers for each actor to provide them with oxygen – invisible to the eye in the finished film.” The results are pretty unique, and well worth a look. The spot debuted, in both 30 and 60-second versions, on cable and broadcast on October 23rd and the campaign also features digital initiatives. (more…)
New Career Opportunities Daily: The best jobs in media.
Does OK Go release albums? Like, full-blown records with multiple songs on them? I don’t know. I don’t care. Their videos are enough for all of us.
Japanese creative agency Mori Inc. is behind this one. (You may remember creative director Morihiro Harano, who created that giant xylophone in the woods in that 2011 smartphone ad.) Like all of OK Go’s videos, it’s amazing. I would put it up there with the great Rube Goldberg device video for “This Too Shall Pass,” but maybe not quite as high as the truly awesome collaboration with dance troupe Pilobolus on “All Is Not Lost.”
Anyway, here it is:
Those amazing little motorcycles are the Honda U3-X, a very strange device with some kind of robotic gyroscope inside that keeps it from falling over, even when the guys are leaning back and forth on them. (To be fair, OK Go are samurai warriors when it comes to the art of not falling over.) I don’t want to give away the ending, but it gets nuts from there.
At any rate, the rock world’s answer to Cirque du Soleil is back. Hooray for them, and for us. And also for the drone or helicopter or whatever is filming this thing, because wow.
Spending so much time in drought-stricken southern California makes me view this rain-drenched spot for Carhartt’s Rain Defender gear with envy. Nice spot that delivers on the durability as well as the technology. It was filmed up in Washington state, too.
360i and Oreo collaborated with designer Lori Nix and production company Dream Machine Creative directors for a Halloween campaign in which the brand will release a new “nomster” made out of Oreo and other confections every day.
The mad scientist creations were crafted and then filmed in a 32-by-64 inch “Oreo Laboratorium” set, designed to evoke Frankenstein, with over 100 props (many of them handmade). It’s a pretty adorable way to get the brand on people’s mind for Halloween, and its “snackable” size (the first video is 11 seconds) make it perfect for sharing on social media. The brand also offers people the chance to “Name the Nomsters” and will feature the best names in custom digital content later in the day. Oreo’s first “nomster” creation was unveiled today, a fusion of Oreo and candy corn to make a bat-like creature. So far naming suggestions include Dunkfluffula, Count Candy Corneo and Vamporeo. (more…)
New Career Opportunities Daily: The best jobs in media.
In the market for a Steampunk Buttscope, a Bananaganizer or some Medical Test Results Fortune Cookies? You can find these wondrous creations and more over at SkyMaul.
Sometimes a form of advertising becomes so ubiquitous and renowned that parody versions can stand alone as their own money-making franchises. Such is the case with SkyMaul, the book-length parody of SkyMall magazine that’s just published its second edition along with a microsite showing some of its more outlandish items.
While you might wish some of the things are real, like the $500 Condo Pony (cheap at twice the price!) or the $40 set of dunce hats for rocks (the perfect thing to give as a follow-up for a Pet Rock), the only thing you can buy on the site is the book from Amazon.
But let us wax poetic for a moment about the enduring popularity of advertisement parody. From every iteration of “Keep Calm and Carry On” you can imagine to sketch comedy’s enduring love for parody TV commercials, people love fictional ads for fake things often more than they love real ads.
Sometimes people love them so much that advertisers will make a real ad for a real product that looks like a fake ad, like GE’s overblown, amazing tribute to Jeff Goldbum’s affinity for pauses, or that time Liquipel created a real commercial so fake cheesy that people thought it actually was fake.
But whether art is holding up the mirror to advertising or advertising is taking a photo of what it sees in that mirror, you’re sure to waste a few amusing moments today reading through the hilarious copy and photoshop lunacy over at SkyMaul.
Oct. 27, 1994
HotWired, the online version of Wired magazine, runs the first-ever banner ad. “Have you ever clicked your mouse right HERE?” the ad asked. “YOU WILL” it answered. It was right. 44% of people who saw the ad clicked on it, according to Joe McCambley, who was a member of the team which built the ad for AT&T.
June 1995
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases here ran on TV for the first time over the weekend. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.
Among the new releases, Chrysler says that the 2015 Chrysler 200 is “America’s import,” while Best Buy serves up a spot that feels very Christmas-y, complete with shots of gently falling snow and cheerful holiday shopping. And Southwest Airlines gets its dance on in a commercial that considers the exertions (and costs) of “Wedding season.”
As always, you can find out more about the making of the best commercials on TV at Ad Age’s Creativity.
This nugget is spec work. And we can see why. It’s so off-the-wall weird that you can’t even wrap your head around it to realize it just might be an ad for for some bank.
Entitled Wet Dream, is a visual onslaught of the sorts of things some people, but not most, might see in the middle of a proverbial wet dream.
To each his own is, we guess, the mantra here. Everyone’s wet dream isn’t necessarily going to be filed with women in bikinis with huge boobs or guys is Speedos with ripped abs.
Visual Advice est une agence créative qui réalise à la demande des identités visuelles de marque. Typographies lumineuses en 3D, maquettes et scénographies surréalistes, le collectif agence des mises en scène colorées qui ne manquent pas de style. Une compilation de différents projets est à découvrir dans la galerie.
Today we can confirm that three top executives have either left or will be leaving their respective agencies.
First: Tito Melega, who was creative director, Americas at TBWAChiatDay, is no longer with the agency as of today. Melega, who spent four years with TBWA, described his own role as “Creative Director, Americas of all things Nissan.”
At the moment, we have no word on where Melega is heading or who will replace him, though a spokesperson tells us that CCO Steven Butler ”is currently creative lead.” For context, the client most recently shared a bit of “Tough Love” via 80s rocker Bret Michaels.
Logic would lead one to believe that Melega will land another role at a major agency, quite possibly one with notable auto industry clients: prior to joining TBWA and working on Nissan, he held the VP/CD position at BBDO, where his accounts included Mitsbushi.
He was an art director at Team One from 2000 to 2005, and his earlier career includes stints at AD positions with JWT, Fallon, Ogilvy and Saatchi & Saatchi Los Angeles.
New Career Opportunities Daily: The best jobs in media.
CDW and Ogilvy & Mather teamed up to bring back Charles Barkley for the latest iteration of the brand’s “People Who Get IT” campaign, which Barkley has appeared in since 2012.
The new “Smart Growth 2.0?campaign, which focuses on partnerships with Microsoft, ADC and Lenovo, debuts tonight with 30-second broadcast spots during Monday Night Football. Once again featuring the fictional Gordon & Taylor company, the spots show Barkley and company dealing with new growth as they attempt to keep up with innovation. CDW, of course, is presented as the solution. The best of the spots features a different take on the “mobile work station.” The campaign is supported by online and social elements, as well as “internal engagement programs, sales enablement, customer events, CDW.com promotions and public relations support.”
New Career Opportunities Daily: The best jobs in media.
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