(TrendHunter.com) Australian company Forcite Helmet Systems has developed an innovative ski helmet that uses technology to take safety, comfort and pleasure on the hills to the next level. This helmet’s…
In the latest addition to its North American team, CP+B has named Gustavo Sarkis to lead its creative operations in Miami.
Sarkis joins the agency from TBWA, where he served as creative director on recent campaigns for Gatorade; TBWA/Chiat/Day recruited him and colleague Renato Fernandez from BBDO’s Brazilian outpost Almap in 2011 to help run that very account in LA.
While at TBWA, Sarkis played a crucial role on the team credited with winning the Adidas World Cup pitch.
In his new position, he will run creative on all of the Miami office’s accounts, which include Infiniti Mexico and Latin America (win FINALLY confirmed in October), several “agency-developed products” like Papa’s Pilar rum and, yes, The Miami Dolphins.
The hire is CP+B’s latest big creative move after the agency decided to eliminate the worldwide CCO position in 2013 and search for industry veterans to run its respected offices: Ralph Watson of BBDO scored the lead role at Boulder in August 2014, and CP+B LA lured Kevin Jones away from W+K Portland last month.
Sarkis’ arrival in Miami is preceded by that of another Wieden vet: Spence Kramer, who formerly managed the Coca-Cola account at W+K Portland, became global managing director in Miami last May.
In the release, Chairman Chuck Porter praises Sarkis and Miami itself, calling the latter “a magnet for global creativity and a great resource for multi-cultural talent” and naming Sarkis as the perfect creative leader to take advantage of its hot spot status.
For BMW’s Super Bowl spot, “Newfangled Idea,” Kirshenbaum Bond Senecal + Partners look back at an entertaining (and slightly embarrassing) 1994 Today show clip with Katie Couric and Bryant Gumbel in which the hosts act more than a little befuddled about the whole Internet thing (and the “@” symbol).
The flashback functions as a setup to BMW’s forward-looking electric i3. Couric and Gumbel appear in the car, talking about how they don’t understand what they mean that there is “nothing under the hood” of the car or that it was made in a “wind-powered facility.” It’s a pretty clever way of illustrating how much people’s ideas can change about new technology in 20+ years, and making electric-doubters wonder if they’ll feel silly for their questions in another decade or two.
If you’re wondering how the pair feel about the clip, Gumbel offers some insight in a behind-the-scenes feature released by the brand. “People are inclined to ask, ‘Aren’t you embarassed by that clip?’ — or ‘Aren’t you angry about that clip?’ I say, ‘No! I’m not at all! I’m amused by it.’” He added, “I watched The Jetsons years ago, so I kind of thought we’d be in a jetpack, ya know, flying over things. I guess one day we’ll get there, but for the time being, the electric car is a great way to go.”
Coca-Cola has released a series of teasers for its “Make It Happy” Super Bowl ad from Wieden + Kennedy which manage to keep the spot a bit of a mystery.
In the 30-second “Reactions” (featured above) for example, people are showed reacting to the ad with what we assume is meant to be a kind of surprised awe, ending with the line “The Internet May Never Be The Same.” The other two trailers, coupled with the #MakeItHappy hashtag and a rather cryptic press release make it clear that the brand’s big game ad will address “online negativity” (we have no idea what they could be referring to by this term) and position Coca-Cola as an opposing force to “Make It Happy.”
The brand will run its 60-second ad during the first quarter of the Super Bowl. Leading up to its unveiling, the brand will release four online vignettes featuring “personal stories of online negativity from teens and adults who have experienced it up close.” The first of these, focusing on Kid President, has already been uploaded to the brand’s YouTube page with Danica Patrick and Michael Sam set to appear as well. We’re also told the teaser clips, which will begin broadcasting today, offer glimpses of material that will appear in the final ad.
“We’re all surrounded by stories of online negativity, and it’s a concern that only continues to grow within society,” said Andy McMillin, VP and GM,Coca-Cola Trademark Brands, in a statement. “We hope this campaign inspires people across the country and around the world to show more positivity in their online actions, and to stop and think before posting a negative comment.”
As our planet degrades, a new meaning, a new aesthetic emerges.
We begin to crack jokes, explode mindbombs, float insane off-the-loop meta memes that spread like wildfire in the collapsing scenario we find ourselves in.
We don’t just put lipstick on the pig, we redesign the whole fucking pig.
… how it feels to walk around our cities, sit in front of our computers, glance at our smart phones, to eat, sleep, work and relate to each other … we tinker around with the way it feels to be alive today.
Read more on Adbusters.org
Voici le nouveau livre de l’éditeur basé à Hong Kong, Viction:ary. Intitulé “64GB – 64 Eminent Creatives from Great Britain”, ce livre traite de la scène anglaise du design à travers ses créatifs établis et émergents, le tout dans un packaging qui puise son inspiration dans le design des cartes mémoire SD.
Uma das vantagens de terem inventado as câmeras digitais é que podemos tirar várias fotos sem se preocupar e refazer a foto se sair ruim, não é verdade? Bom, parece que não é isso o que os desenvolvedores do app WhiteAlbum pensam.
Apostando na nostalgia das câmeras descartáveis, o WhiteAlbum é um app de fotografia bem simples para iPhone. Os únicos controles que você tem é ligar ou desligar o flash e escolher entre uma moldura quadrada ou redonda. Assim que você tira a foto, não é possível mais vê-la, apagá-la ou alterá-la. Após tirar apenas 24 fotos, você pode pagar 20 dólares para o serviço e recebê-las em casa, com envio grátis para o mundo todo.
A ideia é relembrar os tempos da fotografia de filme, quando você tinha que pensar bem antes de bater a foto, pois só tinha uma chance de acertar. E só saberia se a foto ficou boa depois de revelar. Mas com esse preço, imagino que os desenvolvedores também estavam com saudades do tempo em que fotografia era um hobby caro e para poucos…
Post originalmente publicado no Brainstorm #9
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Fox Networks Group is continuing its revamp of its ad sales division, promoting Bruce Lefkowitz to exec VP-advertising sales, and creating new agency leads who will be responsible for working with specific ad agency groups.
Mr. Lefkowitz, who had been exec VP-ad sales for Fox Cable Entertainment, will now be No. 2 to Toby Byrne, president-ad sales for Fox Networks Group, will be in charge of advertising revenue and sales strategy for all broadcast, cable, sports, Spanish-language media and non-linear platforms.
He will also supervise Fox’s newly created “agency leads,” who will be responsible for working with individual agencies and their clients. Under the new structure, WPP’s GroupM, Omnicom, Denstu Aegis, IPG and Publicis’s Starcom MediaVest and Zenith will each have their own sales team lead.
Glossy magazine publisher Conde Nast, which owns Vogue and Vanity Fair, is enlisting its editors to consult with advertisers and help them create articles and images.
The move — which comes with the rollout of 23 Stories by Conde Nast, a new department charged with creating content for brands — is a sea change at Conde Nast. It has so far kept editors at arm’s length from advertising content even as competitors like Hearst and Refinery29 have put editorial to work for brands.
Last year, the company’s former editorial director, Tom Wallace, drafted an internal document — which one editor called a Magna Carta” — about the company’s approach to native ads. The document said neither editors nor magazine’s logos can appear in native ads. It did not specifically prohibit editors from working in some capacity with advertisers. (Mr. Wallace left the company over the summer.)
(TrendHunter.com) The latest Anna Lawska lookbook displays the designer’s jewelry line by way of the work of photographer Piotr Czyz. In several of Czyz’s faded images, green plants and leaves are…
Last week, Victoria’s Secret released a 90-second online spot (featured below) featuring its models suited up and playing football. But if you were wondering if the release gave any indication of the brand’s actual Super Bowl effort, the recently-leaked ad answers with a resounding “Hell no.”
Instead, the 30-second Super Bowl spot, created in-house, is a very much by-the-books effort. In fact, the ad was pieced together almost entirely from footage already used in the past 18 months, with the lone exception being a shot of model Adriana Lima filmed for the new ad in January.
“We only shot one piece of new material for this commercial—we decided to come to the game late and then we wanted to leverage every opportunity,” Ed Razek, the brand’s chief marketing officer, told Adweek. “We’re not crazy enough to do a commercial where all of our girls are dressed like football players,” Razek explained. “We do what we do—it’s two weeks to Valentine’s Day.”
The ad, the brand’s first in the Super Bowl since 2008, will run during the two-minute warning. Perhaps due to the volatile placement of the ad, Victoria’s Secret decided to leak it early — with heavy support from social media on channels including Twitter, Instagram, Snapchat and Facebook. But will fans of the brand really care about an ad made from recycled footage?
Sara Heffernen’s “Graphic Design Pun Cards” make gentle sport of designers’ compulsive, perfectionist tendencies, while being dad-jokey enough to elicit groans from the rest of us.
Having said that, “Bad Kerning Can Never Be Justified” is legit funny and two levels beyond what this kind of humor usually is, and “Keming” isn’t far behind, even if it does kind of tell the same joke. The others are more of a spectrum; either you’re grinding your teeth in response to the no-no’s on display, or at the low-hanging punnery.
You can find the entire collection here. Sara should consider a line of T-shirts, and maybe opening a typographer’s version of Spencer’s Gifts to sell them in.
Via Design Taxi.
McDonald’s has been quiet about its plans for the Super Bowl. Until now.
The company confirmed for Ad Age that a 60-second spot was in the works, but declined to provide much additional detail. But the Golden Arches has just released an online teaser for the spot that will air during the big game. In the teaser, McDonald’s says it will be “randomly accepting a new form of payment” in February.
The spot will be the third so far in the brand’s relaunch that focuses on the “lovin'” in “I’m lovin’ it.” The chain first debuted work at the beginning of January with an animated ad that shows enemies becoming friendly. A second spot aired during the Golden Globes that made its signs the centerpiece. Publicis Groupe’s Leo Burnett is behind the campaign.
Les designers basés à Budapest, Elizabeth Zimmerer et Márton Carême, présentent leur nouveau projet : la lampe Luminose. Cette lampe de table moderne prend la forme articulée d’un chien. Fabriquée à la main en bois de chêne ou de hêtre selon les coloris, le produit est à découvrir sur leur magasin en ligne.
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 yesterday. 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, Carl’s Jr. taps model Charlotte McKinney to promote its new “all natural” burger in its latest punny, leggy spot. The ad will run in regional markets during the Super Bowl, according to Ms. McKinney. Other brands are prepping for big game too: Pizza Huts ropes in Rex Ryan and Tony Romo; Geico uses the enigmatic Ickey Woods; and Doritos begins its “Crash the Super Bowl” blizzard.
As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.
(TrendHunter.com) You may initially appreciate these glass box lamps as unique illuminating objects, distracting you from the great versatility of these designs. Created in versions of three different sizes, the…
After spending the last three years as executive creative director at M&C Saatchi London, Elspeth Lynn is parting ways with the agency (which is currently in the process of overhauling its creative department). With the departure of Lynn, who officially held the title of Group ECD, M&C Saatchi’s creative department will now jointly be overseen by Mark Goodwin, Jason Lawes, Sam Ball and Dave Bedwood.
Ball and Bedwood, along with recently appointed CEO Tom Bazeley, joined the fold at M&C Saatchi London last May when the agency acquired their longtime hometown shop, Lean Mean Fighting Machine.
Regarding M&C Saatchi’s new creative structure, Bazeley tells Campaign that “I want the person making the ultimate creative decisions to be deeply involved in the account….Having one person working at a very high level isn’t the way to achieve this.”
It seems that Bazeley plans to eliminate the ECD position altogether in order to leave creative directors with greater autonomy and a deeper sense of involvement in their respective accounts.
Prior to M&C Saatchi, Lynn spent three years in a similar ECD role at Profero. During her career, the creative vet perhaps most notably owned and co-founded zig, the agency that eventually rebranded as CP+B Toronto in 2010 (and then, of course, Union, in 2012).
We’ve already seen Newcastle Brown Ale dig into Doritos’ “Crash the Super Bowl” campaign this year. And now, Hidden Valley Ranch hopes to do the same with with popular YouTubers the Holderness Family.
Penn and Kim Holderness are former TV news anchors who became an Internet sensation with 2013’s “Xmas Jammies” video, which has been watched nearly 16 million times online. The family’s videos put obnoxious twists on popular songs with personal anecdotes. Most recently, they parodied Meghan Trainor’s “All About That Bass” song with the Thanksgiving-themed “All About That Baste.”
This time, the Holdernesses are preparing for their own Super Bowl party. But instead of watching the game with friends, the parents are dealing with a regular Sunday night, which means getting the kids ready for bed and eating dinner with child bibs on.
“All the guys who aren’t dads get to laugh at ads,” raps Penn.
And indeed, their friends are watching the game with lots of food—including, of course, Hidden Valley Ranch dressing. But luckily, there’s a twist, as the friends’ party goes astray and the Holderness Family (and the brand) get to save the day.
As other brands have done, Hidden Valley is trying to make product placement not feel like product placement (while, of course, spending much less than producing a TV ad). But in this case, the video is very clearly an ad for Hidden Valley Ranch dressing. And how you feel about it might depend on how you feel about this family in general.
The ad is part of a bigger partnership between the Holderness Family and SheKnows Media, a women’s lifestyle media platform. The campaign is one of the first projects to come out of SheKnows Media’s SK Studio, which creates branded content for advertisers. SheKnows Media claims to reach 84.5 million monthly users.
In conjunction with the video, Hidden Valley Ranch is also sponsoring a piece of content called “It’s Sunday Night.”
It’s not clear how many videos the Holderness Family will create for SheKnows Media (or if they will be sponsored), but the publisher claims its partnership with the YouTube group is about finding a fit for its content.
“We gravitated toward the Holderness Family for their humorous approach to creating videos that are highly relatable and reflect their everyday lives,” SheKnows Media’s chief revenue officer Samantha Skey said in a statement.
Sports Illustrated has reversed its call and will run an NFL-themed domestic violence ad from advocacy group Ultraviolet on its website Thursday, three days before the Super Bowl.
The 15-second video shows a football player in full gear brutally tackling a young woman wearing street clothes and a knitted cap. “Let’s take domestic violence out of football,” a voiceover says. On-screen text refers to “55 NFL abuse cases unanswered,” and the ad closes with the hashtag, #GoodellMustGo, a swipe at league commissioner Roger Goodell.
Ultraviolet flew banners with that hashtag above the recent AFC and NFC championship games, as it had at various NFL contests this season during the Ray Rice controversy.
Last week, SI rejected Ultraviolet’s advertising—which includes an online banner as well as the video—but upon further review, and following inquiries from other media, gave the OK, calling its initial refusal a “misunderstanding.” (Apparently, SI initially evaluated just the banner, which it felt could be misconstrued as editorial content. The banner and video together, however, were subsequently deemed acceptable.)
“We are thrilled that public scrutiny has persuaded Sports Illustrated to reverse their decision,” says Ultraviolet founder Nita Chaudhary. “We cannot allow the issue of domestic violence to be swept under the rug.”
Ultimately, the SI drama generates extra exposure for Ultraviolet’s edgy play and further deflates the NFL on the eve of the Big Game.
Ed Catmull, presidente da Pixar e da Disney Animation Studios, é reconhecido por suas contribuições na inovação da computação gráfica. Ele almejava um objetivo muito claro: fazer o primeiro longa metragem de animação por computador do mundo.
Não seria fácil, já que a própria tecnologia precisava ser evoluída e aperfeiçoada, mas ele estudou e compartilhou o conhecimento que adquiriu para fazer o segmento se consolidar. Mesmo com os erros que são comuns a quem faz algo novo, o foco o levou a criar a divisão de computação gráfica da Lucasfilm que, anos depois, foi comprada por Steve Jobs e virou a Pixar. Com o caminho livre, a empresa foi responsável pelo marco na história do cinema que foi o filme “Toy Story” (1995).
Depois de anos no campo técnico, e já tendo realizado seu sonho com a produção de “Toy Story”, Ed Catmull abraçou de vez o cargo de presidente da companhia e dedicou os anos seguintes a sustentar a cultura criativa presente na Pixar. Sua rotina exigia muita atenção para observar problemas externos que pudessem atacar essa cultura, e blindá-la para que jamais fosse abatida. “Criatividade S.A.” – recentemente indicado pelo Cris Dias no Qual É a Boa? – é um livro incrível que reúne os esforços, sucessos, falhas e lições que Ed Catmull aprendeu ao longo do caminho.
Livro reúne os esforços, sucessos, falhas e lições que Ed Catmull aprendeu ao longo do caminho
Misto de biografia e lições de empreendedorismo, a obra se diferencia dos demais livros de negócios por ser ligado à empresas que dependem da criatividade para se manter. Escrito em parceria com a jornalista Amy Wallace, Ed Catmull expõe sua história de forma honesta e comenta sobre as escolhas que o tornaram um líder na indústria criativa.
Dois momentos de “Criatividade S.A.”, em especial, me chamaram a atenção por ilustrarem como o compartilhamento de ideias pode contribuir com a inovação.
“Um problema difi?cil e? melhor solucionado quando va?rias mentes excelentes trabalham nele”
Em 1974, Ed foi contratado pelo Instituto de Tecnologia de Nova York para coordenar um laboratório que desenvolveria animações. Enquanto todos os profissionais da área tentavam ser os primeiros a realizar algum feito, Catmull e seu colega tornaram públicos seus estudos sobre computação gráfica. A percepção era que todos estavam tão longe de fazer algo concreto, que ocultar ideias só prejudicaria a evolução do segmento. Disponibilizando esse conhecimento, toda a comunidade se beneficiaria do avanço e contribuiria para que a arte evoluísse. E isso aconteceu.
Alguns anos depois, ele recebeu o convite de George Lucas para criar a área de computação da Lucasfilm. Em sua entrevista de emprego, quando perguntado sobre quem mais o estúdio poderia considerar para a vaga aberta, Catmull citou diversos nomes de pessoas que estavam fazendo um bom trabalho na área técnica. Sua honestidade e visão de inovação fizeram com que ele ganhasse a vaga e, tempos depois, ele descobriu que a Lucasfilm já havia entrevistado todas as pessoas citadas, mas nenhuma delas respondeu a pergunta de forma franca.
Uma vez na Lucasfilm, Catmull virou vice-presidente da divisão que criou. No entanto, os altos custos do departamento fizeram com que Lucas procurasse potenciais compradores. Até que Steve Jobs, recém chutado da Apple, investiu 5 milhões de dólares na empresa e deu início à Pixar. Inicialmente uma empresa que vendia computadores de design gráfico e produzia algumas animações publicitárias, Jobs fechou, em 1991, um acordo com a Disney para produzir três filmes animados. E é nesse momento que o estúdio que nós conhecemos realmente nasce.
Na visão de Ed Catmull, um problema difícil é melhor solucionado quando várias mentes excelentes trabalham nele. Então, diante de um desafio, seja inteligente.
Outro capítulo especial de “Criatividade S.A.” é dedicado ao Banco de Cérebros, uma equipe formada por membros altamente qualificados de criação da Pixar que se reúnem para conversar sobre as produções em andamento.
A paixão expressa numa reunião nunca deve ser levada a nível pessoal quando ela é dirigida para a solução de problemas
Um estatístico, conhecido por seus processos de controle de qualidade, certa vez introduziu um conceito de produtividade dizendo que a responsabilidade de encontrar e corrigir problemas deveria estar com qualquer funcionário, em qualquer nível da empresa. Qualquer pessoa que identificasse um problema deveria ser encorajado a parar a produção e corrigi-lo. O Banco de Cérebros faz isso.
Um diretor pode defender a criação do melhor filme do mundo, mas é natural que enfrente problemas para desenvolver a ideia. E aqui entra o Banco de Cérebros. Ele está ali para fazer suas críticas construtivas e ajudar a diagnosticar o problema, para que o responsável possa trabalhar na melhor solução.
De maneira sincera e inteligente, todos são convidados a falarem abertamente sobre suas sugestões. A paixão expressa numa reunião nunca foi levada a nível pessoal porque todos sabiam que ela era dirigida para a solução de problemas. E a sinceridade, dentro da Pixar, supera hierarquias.
Ed Catmull dá um exemplo muito legal para ilustrar as reuniões. No filme “Os Incri?veis”, há uma cena em que Roberto Pêra está brigando com sua esposa, e a cena pareceu completamente errada a todos os presentes, pois o personagem era enorme, e sua esposa, magrinha e baixinha. Parecia que ele poderia agredi-la a qualquer momento e essa impressão precisava ser mudada. Depois de analisar a cena, a equipe não mudou o diálogo, mas a cena. Durante a discussão, a Mulher Elástica usa seus poderes e se estica, ficando maior do que o marido, equilibrando a situação. Isso mudou tudo.
É fascinante conhecer as histórias por trás de grandes projetos do estúdio. Ed nos coloca à par das dificuldades de produzir o primeiro filme da companhia, os erros cometidos na continuação de “Toy Story”, o esboço original de “Up! Altas Aventuras”, as versões do final de “Wall-E”, os projetos que morreram e nunca vieram à público, sempre com uma contribuição valiosa, que alterna entre problemas e soluções encontradas, uma forma de apresentar conselhos aos leitores.
“Criatividade S.A.” cativa o leitor ao unir negócios e inovação, fugindo da mera auto-ajuda corporativa
Com o uso de exemplos reais da Pixar e também de casos pessoais e pontuais, Ed Catmull esbanja dinâmica na forma como compartilha suas descobertas para, assim como ele já havia feito antes, fazer com que outras pessoas se beneficiem de sua história e evoluam com ela.
Em determinado momento do livro, o presidente da Pixar confessa que, nos primeiros dias da empresa (quando ele não sabia o quanto cobrar pelos seus computadores e como montar a própria equipe), se rendeu a diversos livros de negócios com frases como “não ouse falhar”, “siga as pessoas e elas irão segui-lo” e tantos outros clichês que não davam nenhum senso de direção a quem os lia.
“Criatividade S.A.” não comete essa gafe. Há frases inspiradoras, sim, e ideias que dependem de crença e coragem para serem colocadas em prática, mas o livro traz muitas sugestões do que fazer para manter uma cultura saudável na sua empresa. Criatividade S.A. cativa o leitor ao unir negócios e inovação, e se você for líder, colaborador ou apenas um fã de cinema, certamente vai tirar algo de valioso dessa história. É só adaptar ao seu universo e focar no seu objetivo. Foi isso que Ed fez.
—
FICHA TÉCNICA
Título: CRIATIVIDADE S.A.
Autor: Ed Catmull & Amy Wallace
Tradução: Nivaldo Montingelli Jr.
Editora: Rocco
Páginas: 320
Raquel Moritz é publicitária e assinou o próprio nome na sola do seu Buzz Lightyear de brinquedo. Autora do blog Pipoca Musical e co-criadora do projeto Vórtice Fantástico.
Post originalmente publicado no Brainstorm #9
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