Today brings news that TBWA has promoted two veterans to key roles on its global leadership team: Luke Eid (second from left) will be Global Innovation Director at TBWA Worldwide and Juuso Myllyrinne (far left) will assume the newly created position of Global Strategy Director for TBWADigital Arts Network.
Eid, most recently Managing Partner at TBWA Hong Kong, will work on the digital front or global clients such as Nissan. He writes:
“I’ll work with the network to ensure we continually disrupt our own service offering to reflect these changes and provide clients with solutions that are grounded on the latest consumer behaviors and technologies.”
Eid will collaborate frequently with Myllyrinne, whose most recent position was Executive Director of Digital Strategy for TBWAChiatDay New York. Myllyrinne will also lead TBWA’s “product incubator” Pilot while working directly with DAN president Stuart Sproule (third from left) on creative tech and strategy for global clients.
Appleblad’s agency roots lie overseas with Sweden’s Forsman & Bodenfors; he joined F&B after establishing himself as an art director with various companies and worked on IKEA’s “Dream Kitchen for Everyone (no noise)” as Interactive Creative Director.
We have no official word on his position at MAL, but we will update this post if we receive more information.
Japanese natural cosmetics brand Shokubutsu Hana and TBWASMP have floated an unconventional idea in the Philippines to help clean Manila’s grievously polluted Pasig River—an 88-foot-long billboard made of vetiver, a grass that absorbs deadly toxins. Vetiver is often used to treat waste water and landfills, and the billboard can cleanse up to 8,000 gallons a day.
On its website, Shokubutsu Hana says the effort represents the company’s belief in “healthy beauty brought about by the restorative power of nature” and commitment to “provide not only a clean message but also a clean future.” Additional vetiver signs are planned for the ailing waterway, which was declared “biologically dead” in the 1990s after decades of contamination from industrial runoff and sewage. The Pasig River Rehabilitation Commission and Vetiver Farms Philippines are also partners in the project.
A similar concept sprouted in the Philippines three years ago, when Coca-Cola and the World Wildlife Fund created a 60-by-60-foot billboard covered in Fukien tea plants to absorb air pollution.
The notion that social-issues campaign should not just call for action, but also take action themselves or facilitate change, is growing. Recent examples include Peruvian billboards that generate clean air and water, a “Drinkable Book” with pages that filter contaminants and a “Blind Book” designed to teach sighted folks how vision-impaired people feel when denied access to literature because it is not published in a format they can read.
This morning we received confirmation from a spokesperson that Cheryl Childers, longtime Executive Director of Production with TBWA‘s Media Arts Lab, officially left the agency last week.
MAL is, of course, the famously “secretive” shop TBWA set up in 2006 to work exclusively for Apple, and Childers was a member of the core leadership team at the time of its founding. Of the four names listed in that release, two remain with MAL: ECD Eric Grunbaum and CSO Elena Hale (onetime Brand Leader Alex Moulle-Berteaux now serves as CCO at Aereo).
Childers had been with TBWA for some time before the establishment of MAL as well; her LinkedIn profile notes 23 years spent with the organization.
This move is the largest staffing change at MAL since the January appointment of president Erica Hoholick, formerly of Ogilvy London. The agency gave no details regarding the reasons for Childers’ departure or her future plans.
Last summer, TBWA Paris unveiled a bold campaign for McDonald’s that consisted entirely of classic menu items photographed up close—with no branding at all. (Did somebody say McDonald’s? Not in those ads.)
Now, agency and client are back with a follow-up campaign that, in a way, is even more minimalist. Instead of the actual products, now we get clean, simple drawings of the products—turning them into actual icons. There is a bit more explicit branding on these, though, but it’s still very subtle—a tiny Golden Arches next to the illustrations.
The ads feature McDonald’s “Big 6” menu items—Big Mac, cheeseburger, fries, sundae, Chicken Nuggets and Filet-o-Fish—and will appear on more than 2,700 outdoor displays in France, with the major rollout beginning June 2. The agency calls the work “unique and modern, in the McDonald’s brand image,” “exclusive, simple and universal, just like the six iconic products” and “a fun and intriguing addition to our cities.”
More images, plus a new McDonald’s TV spot from TBWA Paris, below.
Last summer, TBWA Paris unveiled a bold campaign for McDonald's that consisted entirely of classic menu items photographed up close—with no branding at all. (Did somebody say McDonald's? Not in those ads.)
Now, agency and client are back with a follow-up campaign that, in a way, is even more minimalist. Instead of the actual products, now we get clean, simple drawings of the products—turning them into actual icons. There is a bit more explicit branding on these, though, but it's still very subtle—a tiny Golden Arches next to the illustrations.
The ads feature McDonald's "Big 6" menu items—Big Mac, cheeseburger, fries, sundae, Chicken Nuggets and Filet-o-Fish—and will appear on more than 2,700 outdoor displays in France, with the major rollout beginning June 2. The agency calls the work "unique and modern, in the McDonald's brand image," "exclusive, simple and universal, just like the six iconic products" and "a fun and intriguing addition to our cities."
More images, plus a new McDonald's TV spot from TBWA Paris, below.
Nonprofit Effie Worldwide, sponsor of your favorite Effie Awards, has named a new president and CEO; current head Mary Lee Keane simultaneously announced plans to retire this summer after 20 years spent leading the organization.
Davies will be Effie’s first leader with an agency background: he moved from an in-house position at Kodak to assume top roles at TBWA and McCann before launching Naked’s New York office in 2006.
Em busca de voluntários jovens, a Cruz Roja Colombiana Seccional Antioquia pediu que a TBWA da Colômbia encontrasse uma forma de mostrar a importância de se estar preparado para ajudar o próximo diante de um desastre. A agência constatou, então, que a melhor forma de se comunicar com o público-alvo seria por meio do rádio, já que muitas pessoas passam o dia ouvindo as estações locais usando fones de ouvido em seus dispositivos móveis.
O resultado foi um spot em estéreo, que divide os fones de ouvido em “lado certo” e “lado errado”, ou seja, aqueles que ajudam e aqueles que não ajudam ao próximo em situações de desastre. É interessante ouvir como a narrativa se evolui.
Para conseguir aproveitar ao máximo, use fones de ouvido.
TBWA\Guate counted on that clever bit of shock value as part of its bid to save Guatemala's only classical music radio station, Radio Faro Cultural, which is at risk of being closed—presumably because nobody under 50 listens to classical music anymore, no matter what country they're in, because they're all too busy listening to Pharrell or Katy Perry.
According to the agency's case study below, the campaign caught the attention of Guatemala's ministry of culture, which swooped in to bail out the station, because government preservation is probably the only thing that can save a waning genre's presence in a waning medium.
While equating the brand with Beethoven could come across as pretentious, the metaphor reads as surprisingly unstrained. But it's hard to imagine the choice going over well with some of the more staunch proponents of Bach and Mozart.
Credits below.
CREDITS Client: Radio Faro Cultural Agency: TBWA\Guate, Guatemala Chief Executive Officer: Raúl Herrera General Creative Director: Martín Sica Creative Directors: Luis Guzmán, Francisco Pérez Art Directors: Levin Méndez, Javier Contreras Producer: Mateo Gómez Planning Director: Flora Hasbun
We’ve confirmed a couple more departures at TBWA‘s Los Angeles offices. In addition to yesterday’s news about executive director Jason Clement leaving the agency:
Head of social Larry Lac is leaving to join Havas New York
Executive director of integrated production Richard O’Neill left earlier this month
A tecnologia wearable está com tudo, basta dar uma olhada no que rolou durante o SXSW. Entre tantas alternativas que não param de surgir, os alfaiates da australiana M.J. Bale fizeram uma parceria com o Heritage Bank e Visa para criar o Power Suit, um terno que conta com um chip de pagamento que substitui dinheiro e cartões de crédito. Afinal, quem precisa de carteira quando se tem um desses?
A criação do Power Suit partiu do princípio de que homens poderosos não carregam dinheiro (mas, cá entre nós, o outro extremo também é verdade). Então, com um chip de pagamento inserido no tecido – mais especificamente na manga do terno -, basta que o usuário aproxime o braço de um aparelho Visa payWave e pronto. O dinheiro sairá de uma conta pré-paga do Heritage Bank.
É claro que, pelo menos por enquanto, o produto tem uma edição limitada e é uma exclusividade para clientes vips da M.J. Bale e influenciadores, mas um deles será leiloado e o lucro será revertido para a 4 ASD Kids, entidade que ajuda crianças com autismo.
Adidas would like to introduce you to the official 2014 World Cup stalker ball.
The brand, with help from TBWA, has put six cameras inside a very special version of its official game ball for the tournament, and will send it on tour to places like London, Munich and Madrid, filming ball's-eye footage of soccer scenes and releasing video episodes in the run-up to this summer's games in Brazil.
This way, you can appreciate what it feels like to look at star players like Xavi Hernandez and Bastian Schweinsteiger in the face, and then watch them wind up to kick you in yours.
Lest you escape unscathed, the campaign comes with a pun—the camera-ridden ball is a "brazucam," a play on the official ball's name, "brazuca" (a word that refers to both Brazilian national pride and Brazilian expatriates).
You can follow @brazuca for updates, because it's always fun to give inanimate objects social media profiles.
Next time you're caught driving in a winter storm, Nissan Canada wants you to be grateful you're only dealing with the natural elements and not a supernatural mob of malicious snowmen who are hell bent on destroying everything around them.
Unless you're driving a Nissan Rogue, in which case be happy knowing that if the evil snowmen do magically appear, you can use your all-wheel drive to plow through them like you're playing a less twisted version of Carmageddon, and save all the poor rubes driving other makes and models by letting them pile into the back of your roomy interior.
The creatures in this new spot, from TBWA Toronto, may happily remind Calvin and Hobbes fans of The Attack of the Deranged Mutant Killer Monster Snow Goons. More generally, it's a neat, fresh way for Nissan to dramatize the product's suitability for harsh weather conditions—full of entertaining moments like the angry snowmen beating the crap out of a snow blower with snow shovels, and the perfectly creepy head cock one offers right before getting pancaked.
Now all we want to know is where we can get one to keep as a pet.
Credits below.
CREDITS Client: Nissan Canada Agency: TBWA, Toronto Executive Creative Director: Allen Oke Creative Director: Rodger Eyre Associate Creative Director, Art Director: Susie Lee Copywriter: Jonah Flynn Head of Broadcast: Nadya Macneil Production House: Sons and Daughters Director: Mark Zibert Director of Photography: Chris Soos Executive Producer: Liane Thomas Line Producer: Neil Bartley Editing: Poster Boy Executive Producer: Michelle Rich Editor: Mark Paiva Editing Assistant: Johnny Okkerse Transfer: Alter Ego Colorist: Wade Odlum Effects: Legacy Effects Effects Technicians: Shane Mahan, Mark Killingsworth Postproduction: The Mill Producer: Jeremy Moore Compositing Lead, Visual Effects Supervisor: Kyle Cody Computer Graphics Lead: Jeff Dates Visual Effects Supervisor: Andreas Berner Executive Producer: Melanie Wickham Audio House: Eggplant Head of Production: Nicola Treadgold Director: Adam Damelin Engineer: Nathan Handy
O novo comercial da ONG AIDES trata de mentiras que podem colocar a vida em risco, mesmo que não seja intencional. É um chamado para que as pessoas façam o teste de HIV.
Prestes a fazer sexo com um homem de madeira – o Pinóquio – uma mulher perguntam se devem usar camisinha. Mas com a resposta, algo cresce no corpo do rapaz, e não é aquilo que seria mais apropriado pro momento.
A criação é da TBWA Paris.
Outro comercial nessa semana também utilizou o conto de fadas de Pinóquio como tema. A Peugeot deu um coração para um robô.
A SNCF – companhia ferroviária da França – já conectou cidades européias através de conferências, na época utilizando um cubo de três metros de altura. Agora a empresa repete a estratégia, mas com um resultado visual ainda mais interessante.
Misteriosas portas foram espalhadas em praças de diversas capitais da Europa. Quem abria a porta, se deparava com uma tela ao vivo mostrando pessoas em outra cidade.
All new from McDonald's: the McCloseUp. The chain is taking fast-food porn to new heights with a series of print ads from TBWA Paris that consist entirely of intimately photographed classic menu items (or at least, prop food dressed up as, for example, the ideal Big Mac). We already posted the TV spots from the same campaign, but these print ads are worth looking at in their own right. Mainly because they exclude Golden Arches or other overt branding—and they get away with it. In the on-point words of one commenter, "Lazy, but genius." The images are easily recognizable, and striking enough that, depending on your relationship with the brand, they'll either have you licking your chops or feeling a little queasy. Either way, they make an impression. More images below.
UPDATE: A reader points out that one of the executions features a wrapper with an "M" in the lower right corner. Because apparently, fish filet sandwiches are more generic—and therefore in need of a differentiating logo—than ice-cream sundaes.
TBWA\Paris places ads within ads in this new McDonald's campaign, with print and billboard elements playing key roles in a series of understated TV commercials.
Branding cues such as the McDonald's name, tagline and Golden Arches are de-emphasized. In fact, they're entirely absent from the print ads and billboards. The goal is to focus on the iconic, instantly recognizable menu items. We get intense close-ups of crispy fries peeking out of familiar red-and-gold packaging, a giant McNugget dunked in tangy sauce and sundaes drizzled with nuts and chocolate.
Director Xavier Mairesse weaves these visuals into a trio of simple but effective TV spots that need no dialog to deliver their message. In "Dentist," a patient repeatedly opens and closes his mouth as he watches McDonald's fries cycle through a billboard outside. "Yoga" shows a group of enthusiasts chanting "Ommmmmm" as they ogle a full-page McNugget newspaper spread. Women who show up for a job "Interview" smear their lipstick by hungrily licking their lips when they spy a McDonald's sundae in a colorful magazine ad. (Integrating the unbranded work into high-profile commercials—and generating media coverage for the overall campaign—should help make the print ads and billboards even more readily identifiable as ads from McDonald's.)
This brand-as-icon strategy is the same basic approach used in Translation's earlier, pleasingly trippy Big Mac campaign. TBWA's humor, however, is more restrained, allowing the work to quietly make its point about the effect McDonald's food can have on consumers, even when that food is present only in the form of ads.
That in itself is a tad trippy and slightly surreal, and it makes a strong though surely unintended statement about the ubiquity and cultural impact of McDonald's advertising. Consider how much of it we see in our lifetimes—all the TV spots, billboards and print ads, the countless online banners and Web videos. Heck, we might see multiple spots during one night of TV or a single sitcom.
Through sheer volume, the chain's existence in the paid-media realm is just as palpable and perhaps even more intense than its presence in the physical world. So, it's fitting that it would craft a campaign in which its own ads are the stars.
A execução do overture de Carmen, de Bizet, costuma atingir facilmente os 90 decibéis. A Electrolux, entretanto, lançou um desafio a Waseda Simphony Orchestra de Tóquio: será que eles conseguiriam apresentar a composição ao vivo, sem ultrapassar os 43 decibéis – volume máximo atingido pelo aspirador de pó Ergothree?
A resposta veio em um dos concertos do centenário da orquestra, o 43db Simphony, dentro do Ergothree Music Project. Foi instalado um decibelímetro no palco, para medir os decibéis produzidos pelos músicos.
Na primeira tentativa, somos levados a acreditar que a tarefa é impossível. Mas, em seguida, a música começa a ser executada em um tom quase que inaudível, sob o olhar atento do maestro.
Foi uma maneira bem interessante de comprovar a eficiência do produto no que se refere à sua capacidade de fazer pouco barulho. Ainda assim, foi também um risco comparar os sons da música clássica ao de um aspirador de pó, duas coisas que não têm praticamente nada em comum.
A gente já mostrou por aqui algumas ótimas campanhas contra a violência doméstica. O assunto não é fácil de ser abordado, e por isso mesmo todos os esforços merecem destaque. É o caso da campanha que a Whybin / TBWA criou para a Safer Homes in NZ Everyday (Shine), que confronta as pessoas sobre o tema em bares, lembrando que muitas vezes a violência doméstica está associada ao consumo exagerado de bebidas alcóolicas.
A abordagem foi simples e inteligente: foram impressos diversos porta-copos com fotos de mulheres e crianças, utilizando tinta termográfica. Toda vez que um copo ou garrafa gelada era colocado sobre o porta-copos, os machucados apareciam nas pessoas retratadas, chamando a atenção de quem estava bebendo toda vez que ele levantasse o copo.
A ideia é muito legal, mas a gente sempre fica esperando para saber os resultados e se perguntando como teria sido a reação das pessoas nos bares. Sem contar que o álcool pode ser um agravante em muitos casos de abuso, mas não é uma regra e nem a única razão para que eles aconteçam. De qualquer maneira, vale o registro.
A ONG AIDES tem um histórico de boas campanhas – sempre no período pré-Cannes, é claro – sem esquecer o bom humor para conscientizar as pessoas sobre o combate à Aids.
Nesse ano, a instituição tira sarro dos homens. “Estudos” apontam que, a medida que tira as roupas, o QI do homem cai drasticamente. Sendo assim, as mulheres devem assumir o controle e pensar pelos dois.
O divertido vídeo demonstra diversas situações até o QI zero, com a música “The Baddest Man Alive” do Black Keys e RZA como trilha sonora.
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