En s’inspirant de son mode de vie en Nouvelle-Zélande, l’illustrateur Glenn Jones a récemment créé toute une série d’illustrations graphiques et colorées où il n’hésite pas à représenter tout ce qui l’entoure. Avec un style très personnel, il propose une série de dessins qui respirent la joie et la chaleur de l’été. Plus dans la suite.
The price of soccer TV rights for British broadcasters is expected to rise more than 50 percent for the three-year period starting in 2016.
A compilation of Brian Williams’s television appearances shows how his accounts of a 2003 episode on military helicopters in Iraq gradually became more perilous.
Controversy has continued to build about Mr. Williams’s apology for claiming that he was in a military helicopter that was shot down in Iraq.
Ogilvy Shanghai has a new campaign for KFC leveraging the popularity of Korean boy band EXO.
A new broadcast promotes the agency’s re-thinking of the toy meal giveaway, as QR codes on EXO figurines given away with KFC’s new Korean meals unlock a mobile 3D dancing game featuring the band, as well as offering users bonuses like virtual selfie shots with the band, Wechat GIFS and more. The spot itself is pretty hard to follow, thanks to some questionable translation leading to such gems as “should be seen on a committee satellite into a deep,” “highlights like gonna die soon yeah” and “today’s esos enough time John online.”
At any rate, the campaign targets a slightly older crowd than typical toy giveaways — 16-24 fans of the band, according to a press release — and “marks a range of firsts for all parties involved,” according to Ogilvy & Mather Shanghai Vice President Henry Ho, who added, “We engage EXO enthusiasts with a fun mobile game, but ultimately, we keep the player’s attention by offering fresh, exciting activities and, ultimately, helping them interact with each other as well.”
Credits:
Creative:
Chief Creative Officer: Graham Fink
Creative Director/ Deputy Head of Digital: Sascha Engel
Group Creative Director: James Lee
Associate Creative Director: Marc Viola
Art Director: Li Wen, Da Lin
Copywriter: Terrace Liu
Digital Strategy: Simon Usifo/ Chelsea Zou
Account Supervisors:
Henry Ho/ Christopher Wu/ Yu Hong/ JC Wu/ Fiona Wu/ Mikki Li/ Junjun Ji
Social@Ogilvy:
Sonic Zhao/ Coolio Yang/ Winnie Wang/ Joy Ji/ Miya Kang/ Le Luo/ Qian Zhang/ Jin Feng
Marco Cignini has joined Catch New York, a “growth agency” and self-described “think tank with a super-powered herd of nerds with a collection of hipster artistes, tech gurus, a barrage of bean-counters, and phone-attached-to-the-face client-huggers.”
Whew.
Co-founder/CCO Douglas Spitzer started Catch in 2010 after stints at Arnold, AKA, Nitro and BBDO (as a freelancer); last year Adweek noted that the shop “counts Michelle Obama among its clients,” though services rendered to the First Lady remain unclear.
Cignini will be the agency’s first ECD. Prior to the move (which happened last month), he was a creative director at KBS+; he founded that agency’s “Action Sports and Lifestyle Brand” division and oversaw some or all of the work done for Nike, MB, JBL, Under Armour, and Jay Z (because you asked, the agency helped him launch his first fragrance).
Before joining KBS in 2011, Cignini spent seven years at McCann, ascending to the role of EVP/GCD. He also specialized in sports/lifestyle clients during that period, working on ESPN, NFL, NHL, The Amry, Verizon, and various other accounts.
It’s not yet clear what Cignini’s role at Catch will encompass; the shop’s varied clients include AND1, AARP, Loews, HP, NBA, and United Healthcare.
More details to come (we assume) with the press release next week.
You know you’ve designed a good Oculus Rift virtual reality experience when people emerge from it squealing in delight and with their knees trembling.
Hiking boot brand Merrell did one such activation at Sundance last month, partnering with Rolling Stone magazine to create the Merrell TrailScape—an immersive journey that had people feeling like they were walking around crumbling ledge and over a treacherous wooden bridge high in the mountains.
The experience—which Merrell says was the first commercial use of “walk around” virtual reality—was created by Merrell agency Hill Holliday and designed by Framestore. The latter is the Oscar-winning effects house that worked on Gravity and also famously did the Oculus activation for HBO’s Game of Thrones at South by Southwest last March. (It later opened up a whole VR and immersive content studio.)
Check out the experience below, which was timed to the introduction of Merrell’s most technical hiking boot to date, the Capra.
brightcove.createExperiences();
From Adbusters #114: Blueprint for a New World, Part 3: Corpo
Say the word “brand” and many think of the logotype of some multinational corporation, advertising or the conspicuous marketing of consumer goods — something of relative importance in our own lives.
The reality is different: brands and the discourse of branding affect everyone living in a consumer society and every single part of our lives.
The process of “branding” can be seen as the underlying psychological engine fueling our economy. It functions as the &ldqup;symbol system” of today’s dominant neoliberal politics and increasingly globalized discourse.
Brands are highly relevant when trying to understand cultural issues because they “mirror” the collective psyche and hold veiled information about the zeitgeist of our culture.
Etymologically, the word “brand” derives from Old Norse, a Viking language spoken in Scandinavia until the 14th century, where “brandr” meant “to burn.” Later in history, the word came to identify the process of marking cattle, criminals and slaves using a hot iron. Today, branding is still about burning, but now the cattle are the consumers and the marks psychological. Brands today are not created in the world of matter but in our minds.
Speaking psychoanalytically, the brand is an “imago,” a representative psychological image; an amalgam of associations, images and fantasies we have of a product, person or experience. But to give credit to those of you who still equate a brand with its logotype, indeed, it all started there. Branding has gone through a developmental process in its century-long service to our economy and can be divided into the three eras—logos, eros and mythos.
The brand took its first stumbling steps in mid-19th century America; a time when people still defined who they were by what they produced, not consumed. Then, a brand was just as simple as its logotype. The role it played in our economy was that of a signifier of quality, to differentiate a product from that of the competitors, and to “burn” the company name onto its products. Products in this era of “logos” had no real identity because consumption was still mainly about needs, not desires.
The adolescent years of branding—the era of “eros”—began in the mid-1950s with the shift from a traditional society of producers to the modern era of the consumer. The consumption myth that we are still being told today—that supply is driven by customer demand, that the market produces what the consumers want—is built on a false premise. Supply outgrew demand sometime after World War II when an extreme makeover began turning faceless goods into brands and a society of producers into consumers.
The word “consume” has etymological roots in 15th century France when the word “consumere” meant “to use up, eat, waste.” A consumer was someone “who squanders or wastes” in an “act of pillage, looting or plundering.” The word had a rather negative connotation (for example, the old word for tuberculosis was “consumption”).
“Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfaction and our ego satisfaction in consumption,” wrote economist Victor Lebow in 1955. “We need things consumed, burned up, worn out, replaced and discarded at an ever-increasing rate.” He knew that the success of consumer society, emerging at that time, would lie not in it the quality of products, but how well corporations could mold consumers with a specific set of psychological attributes.
Advertising in this era of “eros” gradually changed from stressing product features through text-based copywriting to stressing the emotional gratification a purchase will give you. All of this was achieved through the use of imagery and by stimulating our unconscious, often hidden, desires. Psychoanalytic theory taught companies that people are not only rational but also irrational in their actions; often motivated by unconscious desires seeking pleasure and gratification. Desires whose “raison d’être is not to realize its goal of satisfaction, but to reproduce itself endlessly as desire.” Companies were beginning to invest more money into the design of imagos for their products. “Role-model identities” of what people longed to be, but sometimes lacked in themselves, were now available on the market—with a price tag.
Since then, brands and branding have evolved to suit the post-modern paradigm of today. The post-modern identity is seen as being individually constructed in a continuous reflexive and dynamic process with one’s environment. Never fixed—always changing. The therapeutic project of selfhood, the search for “peak experiences,” became a life project for the secularized, post-modern citizen.
The role for brands in this new world of mythos is no longer to simply infuse desire into goods but rather to construct the narratives, stories, mythologies and lifestyles that people seek in order to control and create meaning in their lives.
Brands become puzzle pieces in the therapeutic puzzle of forming a post-modern identity, a shining persona, a branded self. Through this developmental process of logos-eros-mythos, brands have shifted their role from helping companies identify their products to assisting consumers in building their identities.
We now have what we need to understand brands as complexes and demonstrate the hypothesis that this post-modern dimension of “mythos” might not lead to a “brand utopia” but rather to a contemporary consumer complex—brand neurosis.
John Stanmeyer
The proposed solutions to our environmental problems are no longer a matter of saving a few watts, using less plastic or stopping an oil pipeline; they are tantamount to a call for freezing the infrastructure. It is our entire industrialized lifestyle that is obsolete, and without a cultural revolution that shatters the logic of the industrial system, we are lost.
The alternative is theology, not ecology—the birth of a new Golden Age which cultivates what Russian novelist Chyngyz Aitmatov calls the “divine spark.”
The issue is not man’s tools, but man’s spirit.
Read more on Adbusters.org
Le designer Andrew Vucko, basé à Toronto, est l’auteur du court-métrage animé Original, réalisé en motion-design. A travers des citations célèbres et des transitions fluides, il s’interroge sur ce que c’est que d’être « original » : Est-ce s’inspirer de concepts déjà existants et d’expériences pour créer quelque chose d’innovant ? Est-il vraiment possible de faire abstraction de ses inspirations au moment où l’on crée ?
Credits :
Direction/Design/Animation: Andrew Vucko.
Sound Design & Music : CypherAudio.
Production/Direction/Mix : John Black.
Composers : Tobias Norberg, John Black.
Sound Design : Jeff Moberg, John Black.
Voiceover: Chris Kalhoon.
Thank you: Ryan Dadoun, Nicolas Girard, Luis Campos, Chris Bahry.
Será que deveríamos mexer em fantasma que está quieto? A Fox parece não ter medo e vai refilmar o clássico “Poltergeist – O Fenômeno”, com produção de Sam Raimi.
A direção é do novato Gil Kenan, mas que tem a boa animação “Casa Monstro” no currículo. E se o original tinha Steven Spielberg como roteirista, dessa vez a responsabilidade ficou a cardo de David Lindsay-Abaire, que escreveu “Robo?s”, “A Origem dos Guardio?es”, “Oz: Ma?gico e Poderoso”, entre outros.
Ou seja, a dupla principal de criativos tem experiência com animação. Veremos como eles se saem com terror. A estreia está prevista para 30 de julho no Brasil.
Post originalmente publicado no Brainstorm #9
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Na busca pela união entre informação e entretenimento, os infográficos são hoje uma das grandes ferramentas dos designers para mostrar informações de maneira que o público se interesse e entenda. E a fotógrafa Marion Luttenberger foi mais longe em seu trabalho para a Caritas Kontakladen, uma organização austríaca que auxilia viciados em drogas.
Unindo fotografia e informação, ela criou infográficos que utilizam objetos como lápis e caixas de som de tamanhos diferentes para mostrar as informações. O trabalho está todo em alemão, mas mesmo para quem não entende a língua, ficou muito bonito de se ver. É uma maneira legal de deixar os infográficos ainda mais interessantes.
Post originalmente publicado no Brainstorm #9
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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, BMW markets the new X5 xDrive35i with a ribald backseat grandmother. Kmart also deploys a grandma for its Valentine’s Day promotion, but with a much gentler tone. And Giorgio Armani sends its male model swimming through fragrant waters.
As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.
Vodafone has selected Grey London as its lead creative agency following a pitch against incumbent Rainey Kelly Campbell Roalfe/Y&R, who had worked as the brand’s lead agency since August of 2011, Campaign reports.
Grey has worked with Vodafone since 2011, when it was tasked with handling the business in Ireland. According to Nielsen, Vodafone spent around £52.9 million on measured media in 2013. We’ve provided a sample of RKCR/Y&R’s work for the brand, in the form of an ad from this past summer in which it cast real British families, above.
The pitch followed Vodafone hiring Grey London for a network differentiation campaign last March, which encompassed broadcast, cinema, print and digital. Grey London’s first campaign for the brand is expected in April.
“We have been aiming to bring our focus our consumer brand work into fewer agencies for some time, as this allows us to foster a closer working relationship with them and also ensures greater consistency across all channels,” said Daryl Fielding, director of brand marketing at Vodafone UK.
For most people, spending a night in cable car 9,000 feet above sea level probably doesn’t sound that relaxing. But if you’re a ski buff or a sucker for a view, you might enjoy the prize in Airbnb’s latest sweepstakes—a stay in a tricked-out lift above a resort in the French Alps.
The hospitality company is turning a gondola at Courchevel into a bedroom for four (assuming they’re willing to pair off to share the two beds). The winners will arrive by snowmobile, enjoy a regional dinner in the cable car, and ride to the top of the mountain Saulire, where they’ll have access to the bathroom in the station, because—surprise, surprise—there isn’t one in the car.
The next morning, after breakfast, they also get first dibs on the slopes.
If that seems like your kind of thing, enter before Feb. 25 by making your case in 100 words over at the Airbnb listing. “Vertigo sufferers need not apply,” it helpfully notes.
If you’re selected, you’ll still have to get yourself there. But judging by some of Airbnb’s other willfully quirky promo digs, it may well be worth it. While it’s not as spacious as a commercial jet converted into an apartment, it almost definitely beats sleeping in an Ikea.
À travers des travaux anthropomorphiques et des jeux de camouflages, l’artiste Masha Reva a voulu retranscrire cette idée que même si l’humain est confronté à un flot d’informations superficielles et constantes, il conserve néanmoins en lui cette part qui le rattache solidement à la nature. À découvrir.
Lucky magazine, the women’s shopping title that was once a blockbuster success for Conde Nast, laid off about 10 staff members this week. One person with knowledge of the matter said nearly 15 employees were let go. A Lucky spokeswoman, however, put the number at “less than 10.”
The spokeswoman did not elaborate on the cuts. But a report on the website Fashionista lists several Lucky editorial staffers who were let go.
Last August, Conde Nast, which publishes glossy magazines like Vogue and Vanity Fair, spun off Lucky into a separate company called The Lucky Group. The new company is a joint venture between Conde Nast and BeachMint, an e-commerce company co-founded by Josh Berman, who also co-founded MySpace. Conde Nast is the majority shareholder.
The music-streaming service is being sued by BMI, a giant licensing agency, which wants a higher cut of Pandora’s revenue. The trial begins next week.
Minneapolis-based agency Martin Williams just unveiled its spring campaign for Mall of America, entitled “Level Up.”
For the spring campaign, the agency created two 30-second spots which attempt to entice viewers to “Level Up” at the Mall of America: whether that means adding to a record collection, taking their spring wardrobe to the next level or dining out at one of the Mall of America’s restaurants. Both ads go for a kind of simple elegance, relying on stylized font, examples of items found at the mall and a soundtrack composed for the campaign by Minneapolis-based music and sound production studio Egg.
The ads will begin broadcasting regionally today, with radio spots, which add voiceover intended “to excite fashionistas for the season ahead” to the audio track from the broadcast spots, set to support the effort beginning on March 2nd.
Kastner & Partners of Los Angeles has long been known primarily for its work with Red Bull. But the agency has many more clients, and it’s looking to expand.
Back in September, we spoke to recently-hired CCO Jamie Reilly — an industry vet who worked in creative at Deutsch LA, Saatchi & Saatchi, TBWA/MAL and 72andSunny — on the appeal of moving from a large to a mid-sized agency.
This week Reilly spoke to us again about his agency’s new work for a very different client: Adidas golf. Here’s the first :30 TV spot in the campaign:
As Reilly explains it, Adidas increasingly “thinks of itself as an innovation/performance brand across the board.”
This makes for a challenge in the golf field, however. “Most perceive golf to be played on a beautiful day in an exclusive environment,” and the agency/client wanted to “position it as a sport with athletes of the highest caliber. We wanted to show them pursuing excellence against adversarial conditions.”
In discussing how the campaign came about, Reilly says that the agency wanted to avoid promoting the client’s new apparel line in way that simply says, “hey, here’s this” by telling “a bigger story about competition.”
Here’s another :15 spot:
The client “challenged [Kastner & Partners],” who “felt like this was a great way to talk about the product through the lens of competition and innovation.”
The client agreed: “when they saw the pitch idea, they started nodding their heads.”
Why?
Reilly says, “When you look at golf advertising…it’s mostly white people wearing white clothes in the bright sun. To me, this resonates as a competitor to other campaigns” due to its “grittiness.”
This :15 spot conveys Reilly’s point:
The goal is to “appeal to dedicated golfers,” who think: “I’m the guy who’s out there playing in the rain when my friends aren’t up to the task.” Reilly adds, “I can relate to their dedication.”
The campaign, which is already running on TV and online but hasn’t received any press attention to date, is a global effort; these efforts will be “picked up and adapted” for international markets.
The campaign also includes print elements that reinforce the “hot weather, cold weather, rain” theme via art and copy:
Kastner and client hope the work will prove to be “disruptive.”
As Reilly explains, “We shot it all in Florida in two days in the middle of August, so all the other components were put together with magic and pixie dust. It’s ambitious.”
adidas Golf – 18/365 PRODUCTION CREDITS
18/365 TV CREDITS:
KASTNER & PARTNERS:
Chief Creative Officer: Jamie Reilly
Creative Director: Tim Braybrooks
Associate Creative Director: Matt Bogan
Associate Creative Director: Richard Bess
Producer: Hank Zakroff
UBER CONTENT:
Director: Cole Webley
DP: Travis Cline
Line Producer: Christopher Cho
Executive Producer: Phyllis Koenig
Executive Producer: Preston Lee
MISSION:
Lead Flame Artist: Joey Brattesani
Creative Director: Rob Trent
Flame Artist: Chris Moore
Flame Artist: Trent Shumway
Flame Artist: Edward Black
Flame Artist: Michael Vaglienty
VFX Producer: Ryan Meredith
VFX Coordinator: Kristina Thoegersen
Managing Director: Michael Pardee
18/365 PRINT CREDITS:
KASTNER & PARTNERS:
Chief Creative Officer: Jamie Reilly
Creative Director: Tim Braybrooks
Associate Creative Director: Matt Bogan
Associate Creative Director: Richard Bess
Copywriter: Chris Guichard
Producer: Jill Lundin
BRAD HARRIS PHOTOGRAPHY:
Photographer: Brad Harris
Producer: John Cogan
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