Vivant à Vienne en Autriche, Andreas Scheiger s’est amusé avec Upcycle Fetish à utiliser divers pièces de vieux vélos pour décorer une pièce en proposant ceux-ci comme s’ils étaient des trophées. Des objets étonnants, qui en plus de proposer un aspect esthétique intéressant, peut aussi servir de porte-manteaux ou encore de porte-vélo.
Francisco Reina retranscrit dans ces différentes photographies des forêts de contes de fées habitées par des animaux et des êtres qui font leur chemin dans notre imaginaire. L’absence est devenu une masse noire dont la représentation est une silhouette humaine ou animale. Une série photographique qui ne laisse pas indifférente.
Jenny Liz Rome est un illustratrice canadienne qui nous propose des dessins combinant des éléments classiques et modernes. Avec des images centrées sur la mode, cette artiste talentueuse nous invite à découvrir son monde où les femmes semblent se métamorphoser en animaux.
You probably didn't know your Acura isn't really a car. It's actually a real live dark horse. In a world full of creepy and brutish mechanical horses.
It will catapult from the back of the pack to win, and wrench an existential scream from the depths of your soul. Because in this tortured journey down the racetrack of life, feelings can be so real—especially when you are driving an Acura horse. Also, because you are a three-piece-wearing fop, says a new commercial from ad agency Mullen and director Adam Berg.
It's painfully literal and beautifully produced, an unusual blend of posh emo dystopian leisure car porn. It's got horsepower! Up next, a Shia LeBeouf lookalike rides Acura Seabiscuit to defeat the evil horse Transformers in a game of Polo Tron.
Credits below.
CREDITS
Client: Acura
Senior Vice President, Automotive Operations, American Honda Motor Co.: Michael Accavitti
Assistant Vice President, Advertising, Marketing, American Honda Motor Co.: Tom Peyton
Manager, Acura Advertising, Brand: Gary Robinson
Spot: "Let the Race Begin"
Agency: Mullen, Los Angeles
Chief Creative Officer: Mark Wenneker
Executive Creative Director: Peter Rosch
Art Director: Sean Stell
Copywriter: Amir Farhang
Executive Director of Integrated Production: Liza Near
Director of Broadcast Production: Zeke Bowman
Senior Producer: Trish Dowley
Co-Director of Strategy: Kelsey Hodgkin
Account Service: Jeff Prince, Alison Kaplan
Product Information Manager: Scott King
Product Specialist: Curtis Millward
Associate Director of Business Affairs: Stephen Duncan
Production Company: Smuggler
Director: Adam Berg
Founding Partners: Patrick Milling Smith, Brian Carmody
Bidding Producer: Shannon Jones
Line Producer: Karen O’Brien
Director of Photography: Mattias Montero
Production Supervisor: Pete Slowey
Production Designer: Tino Schaedler
Editorial: Cosmo Street
Editor: Paul Hardcastle
Assistant Editor: Hugo Jordan
Producer: Jaclyn Paris
Executive Producer: Yvette Cobarrubias-Sears
Color Correction: MPC
Colorist: Mark Gethin
Visual Effects: MPC
Executive Producer: Elexis Stearn
Producer: Mike Wigart
Visual Effects Supervisors: Andy Boyd (3-D), Benoit Mannequin (2-D)
Graphics: Artjail
Audio Post: Phase UK
Sound Supervisor, Designer: Matthew Collinge
Audio Post: Eleven Sound
Mixer: Scott Burns
Original Music: Bobby Tahouri
Track Title: "I Was Set Up!"
Casting Agency: Sonnenberg Casting
Casting Agent: Jodi Sonnenberg
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Lukas Holas nous présente des portraits exceptionnel d’animaux en noir et blanc. Son amour et son admiration pour les animaux émane à travers chaque puissante close-up. Renforcée par un bel éclairage nous dévoilant les détails incroyables, et le style intime de ces portraits animaliers. Un reportage photo émouvant et puissant.
Marketers are officially obsessed with trying to frighten the world-weary populace of New York City. Following the recent devil baby and zombie stunts, here's footage of the Chobani bear—an animatronic version of the real bear in the Super Bowl commercial—ambushing people in Manhattan, knocking over a hot dog stand and generally hamming it up. These videos are pretty funny, but I'd like to see New Yorkers fight instead of just whipping out their phones to take a picture.
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L’Organisation mondiale de la Photographie vient d’annoncer la liste 2014 des Sony World Photography Awards. Les juges annonceront les gagnants finaux en mars et avril de cette année, mais pour l’instant voici une sélection des shortlists des World Photography à découvrir dans la suite de l’article.
By Chin Boon.
By Nicolas Reusens.
By Hasan Baglar.
By Alison Crea.
By Alpay Erdem.
By Holger Schmidtke.
By Kacper Kowalski.
By Jan Stel.
By Kacper Kowalski.
By Samantha Fortenberry.
By Emmanuel Coupe.
By Wolfgang Weinhardt.
By Bonnie Cheung.
By Ata Mohammad Adnan.
In a loopy but memorable attempt to symbolize the sweetness of its biscuits and tea-cakes, McVitie's new British TV campaign shows cute, cuddly critters emerging from its snack packages.
Ordinary folks open their boxes and out pop puppies, kittens and, most disconcertingly, a wide-eyed, Yoda-like primate called a tarsier. (They're getting pretty lax down at the packaging plant, I guess.)
The snackers, unfazed, snuggle with their new furry friends, which vanish once the biscuit-munching begins. Oh, and classic TV themes—from Murder She Wrote, Fawlty Towers and the U.K. game show Blockbuster—play in the background, naturally.
The presence of twins in one spot and a hospital setting in another intensify the self-consciously weird vibe that agency Grey London was shooting for. Even so, director Owen Trevor does a fine job treading the line between "Sweeet" (the campaign's tagline) and "Creeepy" by making the spots feel more random than unnerving.
"We loved the idea that one word could encompass everything these biscuits might mean, but that each biscuit would have a different kind of Sweeet," Grey ecd Nils Leonard tells AdFreak. "We also wanted a cinematic way to evoke the feeling of McVitie's. A way to create unique experiences that brought to life the different feelings each of the biscuits creates. Nailing the essence of each biscuit was critical, so we ate loads of them to help the creative process."
What's more, "We sweated every element of this work to create conversation and appeal to our audience." (And hopefully sweated off some of those many biscuits they ate)
The offbeat approach is designed to speed social sharing and sweeten the campaign's shelf life, even if some viewers sour on all that saccharine. "I just fainted from sweetness overload," notes one YouTube viewer, while another confused viewer asks,? "McVitie's Digestives taste like live dog?"
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With a cute canine-powered commercial from Budweiser chewing up its competition ahead of the big game, I decided to ask dog expert Brian Hare why a pooch is so often an adman's best friend.
"We share a lot of history with dogs that we do not share with any other animal," says Hare. "We've been evolving together for tens of thousands of years. This creates a special connection that is unique to our two species."
Judging from his pedigree, Hare should know. He serves as the director of the Canine Cognition Center at Duke University and co-founder of Dognition, a service dedicated to helping pet owners understand how their dogs think. (Ad shop McKinney helped create the service and its website.) With his wife, Vanessa Woods, Hare co-wrote The New York Times' best-seller The Genius of Dogs.
Sure, dogs are cute, but Hare believes there are deeper reasons that consumers respond so strongly, and in such positive ways, to ad campaigns that feature these animals.
"When you see a dog," he says, "it's not like looking at a tiger or a shark. It's like looking at someone familiar, someone you know and recognize. This sense of familiarity and comfort is very valuable to advertising."
That's certainly true for Budweiser's "Puppy Love," a 60-second commercial from Anomaly that tells the tale of a 10-week-old puppy who keeps escaping from an adoption center and cozying up to the Clydesdales on a nearby farm. The spot debuted on Wednesday's Today show, and in just over 30 hours online, "Puppy Love" is nearing 20 million YouTube views, making it by far the most-watched 2014 Super Bowl ad released prior to the game. It's also fetching massive feel-good buzz for the brand in social and mainstream media.
"This year's Budweiser commercial with the Clydesdales and puppy creates a very heartwarming story, pulling out all the stops and using our relationship with both of these animals very effectively," Hare says. "Seeing a dog brings up positive feelings that no other animal can to the same extent. Horses convey power and grace."
Overall, he says, the puppy-horse combo creates "incredibly strong positive feelings around the brand."
But, doggonnit, this year's Super Bowl is also big on bears, with ursine incursions into commercials for Chobani, Beats Music and CarMax. (Actually, CarMax displays some puppy power too, with a Web version of its "Slow Clap" game day spot retitled "Slow Bark" and recast with pooches.) Elsewhere in animal-related big game ads, a bull-ish bachelor horns in on Chevy's Silverado and Audi breeds the Doberhuahua, a freakish mutant mutt.
Hare maintains that no other critters meet advertiser needs quite like dogs (real ones, not CGI-created Doberman-Chihuahua hybrids on a rampage). He says the combination of cuteness and familiarity helps bowsers win every time, even over the cotton-tailed charms of bunnies. (Perhaps a surprising assertion from a guy named Hare.)
Should some animals be barred from ads entirely? "Depending on the ad's intent, snakes are something to be wary of." Hare's also no fan of primates in commercials "because the abuse of chimpanzees is well documented within the entertainment industry."
So what about the Internet's favorite animal, the cat?
The feline fiends inexplicably get a couple of showcases on Sunday They'll hiss and spit, I imagine, across Hallmark Channel's Kitten Bowl, and cough up hairballs on Animal Planet's Kitty Half-Time Show—which is just an intermission during the cable network's Puppy Bowl anyway.
According to Hare: "Even though cats have also been companion animals for thousands of years, our relationship with dogs seems to be particularly extraordinary in comparison. Research shows that dogs can read our gestures, feel our emotions and even sense changes in our health better than most cats."
There, science proves it: When it comes to ads at least, cats aren't up to scratch.
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Perhaps known as well these days for her heartbreaking animal PSAs as for her 1990s hit singles, Sarah McLachlan shows in a new Audi Super Bowl ad teaser that she doesn't always take herself too seriously.
Audi has been teasing an odd creature creation called the Doberhuahua, which appears to be the star of the automaker's upcoming game-day ad. (You can see reactions to the crossbred canine in another clip below, called "Dog Show.")
In a video released today, McLachlan croons for the misunderstood animal, with "a heart as big as your head." Check it out for yourself:
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Après un superbe projet d’illustrations, l’artiste belge Ben Heine revient avec un jeu de perceptions en 3D en n’utilisant qu’un crayon et une grande feuille blanche. Rien qu’en dessinant, l’artiste apporte une nouvelle dimension à une surface plane qui nous donne envie de plonger dans son univers en noir et blanc.
It's the eternal Super Bowl conundrum: Make a funny ad with people, or make a funny ad with puppies? If you're CarMax, you do both.
For its first Super Bowl appearance since 2011's "Kid in a Candy Store," the auto retailer and agency Silver + Partners have created a game-day spot called "Slow Clap," along with a Web version called "Slow Bark" that re-creates the ad shot for shot with puppies.
"The task came down to what we could do to get people engaged with the ad in advance of the game," Laura Donahue, CarMax vp of creative marketing, tells Adweek. "The agency came to us with a strategy of increasing buzz and conversation about the brand: What if CarMax was the first advertiser who remade a game-day commercial with an all-furry cast?"
In "Slow Clap," we see a CarMax customer driving home in his new car, while a wide array of characters line the street to give him solemn applause in the vein of a Hollywood sports drama. He passes cheerleaders, competitive pie eaters, a park ranger with a bear and several more, including a cameo from Sean Astin reprising his 1993 role from Rudy.
In "Slow Bark," we see pretty much all the same stuff, but with dogs. And judging by how many times my children just made me replay the clip for them while writing this up, it's probably going to be a hit.
Harold Einstein at Station Film directed the human version; Ronnie Koff of Imaginary Forces directed the puppy version.
Donahue says she'd be OK with the puppy version of the ad becoming a bigger YouTube success than the actual Super Bowl version. Both online iterations of the ad are 45 seconds, while the edit you'll see during the game is a :30.
"I will feel excited about any of our combined efforts around the Super Bowl that generate enthusiasm around our brand," Donahue says. "Whether it's the puppy version or the extended version of the ad running online, any of those outcomes is great."
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Depuis leur naissance, les jeunes Yaroslav et Vanya ont développé un lien avec les animaux, qui ne cesse de se renforcer à mesure qu’ils vieillissent. Fascinée par cette relation privilégiée, leur maman Elena Shumilova a décidé de capturer quelques-uns de ces moments de tendresse. Suivez leurs aventures dans la suite.
Inspiré par un voyage qu’il a effectué en Australie, l’artiste Cai Guo-Qiang a imaginé une installation appelée Heritage, permettant de réunir autour d’une piscine maquillée en étang 99 répliques d’animaux venant des 4 coins du monde. Une œuvre magnifique, présentée à la Queensland Art Gallery of Modern Art à Brisbane.
Not since Kill Bill has there been a wedding this disastrous and darkly mesmerizing. As some adorable gingerbread people prepare to wed, a duck descends on the scene in savage fashion, mutilating the wedding party and attendees alike.
Obviously, it's an ad for Oatmeal Crisp.
The link between concept and product is tenuous at best, but luckily there's an angry Scotsman around to explain that as crunchy as that situation was, it can't compare to Oatmeal Crisp. Check out three more spots from the campaign after the jump. Via Adrants.
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Arrghh … can't breathe … too much cuteness! TBWA\Chiat\Day in Los Angeles crafted these 60 seconds of adorable hi-jinks as part of Best Friends Animal Society's pro bono campaign to raise awareness for pet adoptions, a cause near and dear to the heart of legendary adman and agency chairman Lee Clow. The clip shows Instagram photos of four rescued pets—Lil Bub, Nala Cat and two pups named Ginny and Tuna—who each enjoy various measures of Internet fame. Ginny's got a space helmet. She's a widdle dog-stronaut! Sorry. This stuff's face-meltingly cute. And I don't even like cats. But I'll make an exception here. Clow says, "Wouldn't it be great if we could get people to see that the smart, cool and socially responsible thing to do is to rescue a pet rather than buy them from a breeder or a pet store?" Fair enough. Plus, if they had pets, folks wouldn't act all catty like that woman in the Tenth Life Rescue spot from a few months back.
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Here's one for the file on unexpected PSAs: Exploding chipmunks that warn you against purchasing bootleg electrical goods. U.K. charity Electric Safety Council is using a gruesome, two-minute mock documentary to push Christmas shoppers to buy "genuine goods" that are less likely to cause violent electrical fires. It's fun, if a bit of a head-scratcher—begging for attention by striking the right mix of stupidity and shock value (yes, we're taking the bait) but also trivializing the cause it's meant to spotlight by making the punch line so absurd. Yes, the group needs people not to ignore an easily overlooked problem, but it also needs them to take it seriously. Then again, maybe it'll get lucky and draw fire from PETA—the kind of charity troll that's able to make an exploding-rodent tactic look sane by comparison. Agency: Code Computerlove. Via The Drum.
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"Say no to dog or cat meat." That's the message in 279 new ads being plastered across Chinese train stations, bus stations and elevators by a pet advocacy group called Animals Asia.
Steering consumers away from eating dogs and cats would be a pretty easy sell in America, but apparently the problem is quite massive in Asia, with millions of dogs slaughtered each year for food, according to the group.
Each ad shows someone putting chopsticks over a malnourished stray or beloved family pet. Some warn that dog meat is made from stolen pets, while others highlight health and safety issues.
"Cat and dog meat sold in restaurants is often sourced from stolen domestic animals and strays snatched from the street," one ad variation says. "Don’t pay for this cruel and dirty industry with your own health. Be healthy, say no to dog and cat meat.”
Check out several of the ads after the jump. Via One Green Planet.
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Cliché-Sur-Seine est une série de 20 illustrations signée par Simon Sek du collectif Les Animals cherchant à faire ressortir dans chaque arrondissement de Paris ce qui le caractérise aux yeux des Parisiens. Des posters simples, colorés et efficaces, qui parleront notamment aux habitants de la ville. A découvrir dans la suite.
Coup de cœur pour le travail de Noah Vanderveer, un photographe australien vivant actuellement à Sydney. Il présente sa nouvelle série de photographies animalières, prise sous le ciel étoilé. De magnifiques images, très délicates, à découvrir en détails sur son portfolio et dans la suite de l’article.
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.
