Most magazines post editorial mission guidelines to define their target audience for advertisers and content contributors, explain their editorial focus and how it differs from other magazines in the same category, etc. Vogue, Elle, Marie Claire, and Glamour fall into the women’s fashion and style category, but each has its own unique perspective and tone of voice. Outdoor, Runner’s World, and Sports Fitness each cater to a specific demographic. Occasionally, a magazine will fudge its guidelines – like Sports Illustrated’s “swimsuit” edition, which is a stretch to claim that it has anything to do with sports or swimming, but would leave muscular jocks in tears if that issue was ever cancelled.
Lately it has been interesting to observe that a lot of magazines have strayed from strict adherence to their editorial guidelines and run articles touching upon Presidential politics. Teen Vogue, Scientific American, and Allure are just a few publications that found a way to fit a Trump story into their story format. GQ (Gentlemen’s Quarterly) recently came up with a clever way to stay true to its editorial position as the premier authority on men’s fashion and style by critiquing Donald Trump’s attire — a twist on the “Emperor has no clothes” tale, but in this case, the “President wears the wrong clothes.”
How do you sell a product that is basically the same no matter the brand? You give it a personality. You imply brand preference. You make it fun and entertaining and arouse a fondness for the brand among shoppers. Such is the case with the UK’s Cravendale milk. Wieden & Kennedy ad agency in London did not try to compare Cravendale with other dairy products or talk about milk’s many health benefits. The Cravendale commercials, released in 2010, looked at a “consumer” segment that lusted after the product, which was doled out to them sparingly by oblivious overlords. In their frustration, they fantasized how they could seize power if only they had opposable thumbs. Then the milk would be there for the taking any time, any place. My kingdom for opposable thumbs! Read More »
No longer just a mind-boggling novelty trick shown large-scale on building facades, 3-D projection mapping technology is being integrated into everything from live concerts, advertising, gaming, theater performances, product launches, and fashion shows. Now it has gone mini and personal, performing to an audience of one.
In Belgium, animation artists, Filip Sterckx and Antoon Verbeeck, from Skullmapping, have given new meaning to the term “dinner theatre” by putting the entertainment on the plate itself. Like a scene right out of the Disney film, “Ratatoille,” the well-known Le Petit Chef in Belgium amused diners by having a little chef personally prepare their meal right before their eyes. This example of spectacular precision videomapping isn’t just dazzling audiences with its new “gee whiz” technology, but has taken projection mapping to a new level by treating it as a tool to tell a story. Read More »
It’s not just Americans who are aghast at this year’s bizarre Presidential election. In Copenhagen, this bus broadside, paid for by Socialistisk Folkeparti (SF), urged the roughly 8,700 American citizens living in Denmark to make sure they vote. Created by Uncle Grey agency in Copenhagen, the bus ad took a neutral public service stance with its “Americans Abroad Vote” message, but slyly slipped in its partisan preference by turning the back wheels into crazy Trump eyes. Read More »
Royal Philips, an advanced technology healthcare company, displayed its softer side in this 30-second spot just released in Australia. Created by Ogilvy & Mather London, the commercial was inspired by a real-life window cleaner who dressed up in a super hero costume and rappelled down a hospital facade to surprise and delight young patients in the children’s ward. In a twist on that story, the Philips video humanizes Spiderman by catching him when he is not fighting grime and showing that his life has the same hassles as the rest of us. The underlying message for Philips is that its focus isn’t simply on providing cutting-edge medical devices; they look at healthcare more holistically, recognizing the healing power of joy and laughter. The tagline for the ad says: “At Philips we see life differently. There’s always a way to make life better.”
More Th>n, a UK-based company that insures cars, homes and pets, commissioned British artist and inventor Dominic Wilcox to create the world’s first interactive art exhibition for dogs. In addition to paintings and drawings created in a dog’s color spectrum, primarily yellow, blue, and gray, the show features the “Cruising Canines” exhibit, giving visiting dogs an interactive open window car experience; “Dinnertime Dreams,” an oversized 10-foot dog bowl filled with hundreds of “food-colored” balls, and “Watery Wonder,” an arrangement of dancing water jets that jump from one dog bowl to the next.
The exhibition was created as part of the #PlayMore campaign to encourage dog owners to give their pets more quality attention. More Th>n invited owners to take the #PlayMore Pledge to spend 15 minutes more time daily playing with their pet, and promised to donate £1 to the RSPCA if they do. That’s more th>n any other insurer has offered.
Trust Cargo is a Latin American freight forwarder that specializes in delivering live cargo such as fresh fish to the world’s top restaurants. In print ads, created by TBWA/Buenos Aires in Argentina and illustrated by Cristian Turdero, Trust Cargo humorously stressed that its freight deliveries could be relied on even in regions of the world that are in political turmoil.
Considering GOP Presidential candidate Donald Trump’s “promise” to build a 1,000 mile border wall between the U.S. and Mexico, the ad took Trump’s words literally and re-drew a map of the Americas with a Trump Channel separating the Southern United States from Mexico. Read More »
Israeli ad agency BBR Saatchi & Saatchi in Tel Aviv took the claim “great taste” literally in demonstrating the quality materials that go into the making of the new Ford Kuga. It served Canadian illusionist Eric Leclerc savory hors d’oeuvre bites of the seat, steering wheel, window glass, and engine belt on an elegant silver platter, which Leclerc sampled with euphoric pleasure. The implication is that only the most scrumptious ingredients go into the making of a Ford Kuga. Whether this translates to a superior driving experience or not is debatable, but it got you to watch.
Everything about this commercial for Adobe Marketing Cloud rings true, except for rerouting the spaceship to another part of the galaxy. Created by Goodby Silverstein & Partners for Adobe, this “Do You Know What Your Marketing Is Doing” ad campaign gives us an extreme look at what can happen when companies move warp speed ahead on their brand strategy before or while collecting, analyzing and understanding marketing data. Invariably reticent managers afraid to express their doubts about the chosen direction, do so at the very last minute when it dawns on them that they would be blamed for letting it go forward. Re-dos cause delays. Delays burn budgets, sometime to a crisp. One reason this TV spot is hilariously funny to so many in the marketing/design business is because it is painfully familiar. Such “war stories,” usually confessed in an inebriated state, abound. At some point, we’ve all been there. Gotta laugh so you don’t cry.
Commercials run on the Super Bowl have become their own cultural phenomenon. Costing about $5 million to air a 30-second spot (or $166,666 per second), the commercials reach an estimated 115 million American viewers, and millions more outside of the U.S. Advertisers throw big budgets and top talent at making these spots. In past years, the entertainment quality has been so high that some viewers only watch the game to see the commercials. After the game, people turn to YouTube to see the commercials they missed. This year, however, many advertisers aimed for a pre-game viral buzz by releasing their commercials in advance on TV, YouTube and online platforms.The commercials kinda dribbled out over the past month. The buzz created by millions of people seeing the ads simultaneously for the first time on the Super Bowl was missing. The Super Bowl ads were no longer an event. Without a doubt, there were some terrific ads on the Super Bowl (like the ones shown here), but the thrill of the shared experience is gone. People aren’t coming into the office the next day and chatting with co-workers about their favorite Super Bowl commercial the way they used to. Read More »
A few days ago Meta Design/Font Shop founder Erik Spiekermann expressed his displeasure in a tweet: “Cannot stand that Trump uses my #FFMeta @ FontShop: (only in the background, but still) he only deserves Arial.”
That led Roger Black to tweet: “Trump does not deserve Arial.” Others chimed in that wingdings and dingbats were more appropriate for The Donald. From the incensed outcry of type lovers, one would think that Spiekermann had been violated or defamed by Trump. Type-loving tweeters had very specific views on what kind of personality deserved to use a humanistic sans-serif font that conveyed a calm, reasonable presence, and it wasn’t the bombastic candidate. For the sake of truth-in-typography, we suggest a more suitable option for Trump – Comic Sans.
This 90-second plug for “Star Wars: The Force Awakens” on Jimmy Fallon’s Tonight Show is as ingenious as it is entertaining. Featuring Fallon, house-band The Roots, and the Star Wars cast, the video shows the performers singing as an a cappella choir. Arranged in a grid a la Hollywood Squares or the Brady Bunch, each performer is shot against a plain background while giving their own solo rendition of the film’s most familiar tunes. By shooting at different times and places to accommodate the performers’ schedules, the producers were able to make Harrison Ford, Carrie Fisher, Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Lupita Nyong’o, Gwendoline Christie, BB8, storm troopers, 3CPO, and R2D2, part of the all-star chorus. The juxtaposition of colored squares and overlapping of a capella voices turned the video into a spontaneous jam session, with performers playing off each other even though they were in different parts of the galaxy.
Don’t worry, no pets were harmed in the making of this ad for 3M Lint Rollers. Created by Grey Group Singapore, this print poster campaign for 3M India provides a wildly exaggerated demonstration of how effectively the product picks up pet fur and other types of lint. The Grey Group team included chief creative officer, Ali Shabaz, with art direction by Ang Sheng Jin, photography by Jeremy Wong (Nemesis Pictures), and major retouching by Evan Lim (Magic 3). Read More »
Insurance companies are their own liability when it comes to describing the services they provide in advertising. Boring. This explains why the insurance giants resort to surreal humor, wild exaggerations, and CGI characters to keep viewers from immediately switching channels. Particularly memorable are Geico ads, which feature anthropomorphic animals such as its gecko mascot, created by Richmond, Virginia-based The Martin Agency. Geico ads have featured other animals too, including a talking duck, pig, squirrel, goat, kraken, and chihuahua. Lately, a smart-ass camel has a starring role. What’s interesting is that the 30-second commercials give viewers no clue what product or brand they are promoting until the last five second closing voiceover. “It you want to save 15% or more on car insurance, get Geico. It’s what we do.” It must work because viewers remember Geico’s tagline. Read More »
In the U.S., most sports teams and many consumer products adopt mascots to give their brand a friendly, animate identity, but as far as we are aware, only Japan has mascots to represent prefectures, towns and public offices. Called Yuru-chara, which translates as “loose character,” the mascots generate millions of dollars in merchandise sales (keychains, mugs, t-shirts and plates, etc.) and the costumed characters make special appearances at promotional events and festivals. Without exception, the yuru-chara are cute (a la Hello Kitty), unsophisticated in design, and exhibit childlike manners. Yuru-chara proliferate throughout Japan, so much so that some prefectural governments worry that the number of little towns that have come up with their own yuru-chara are diluting the impact of the big city mascots and cutting into merchandise sales.
The best-known mascot in Japan is Kumamon (seen here) introduced by Kumamoto Prefecture in 2010 to draw tourists to the region’s Kyushu Shinkasen train line. Kumamon instantly shot to fame, and won the 2011 Yuru-chara Grand Prix, drawing more than 280,000 votes in a nationwide survey and crushing other yuru-chara competitors. The next year Kumamon single-handedly earned the prefecture more than $120 million in product sales and was even featured in a popular video game. As with most other yuru-chara, Kumamon doesn’t speak,has only one facial expression, and is of unknown gender and species. It merely dances around and makes spectators happy. Read More »
Creative Bloq recently ran a wonderful piece on how designers wish they could really set their fees. (This method of calculating billing rates could easily apply to anyone in creative consulting services.) Creative Bloq claims the price calculation is based on a proportional sequence postulated by 13th century Italian mathematician Fibonacci, who took the idea from ancient Indian Sanskrit mathematics. Fibonacci’s Sequence became the basis for the Golden Ratio, a way of describing the ratio between two proportions. You don’t really need to know this; we digress in an attempt to appear more learned than we are and to extend the length of this introduction to make the design look more proportional (ratio of image to text). The Designer’s Golden Rule chart, shown above, proposes setting fees based on the ratio of actual creative work you are allowed to do versus the amount of unproductive client interference. This calculation can also be called the Nuisance Factor, the more meddlesome the client, the higher the fee. Note: We took this chart from Creative Bloq, but redid the graphics because we wanted to show a proportional value-add.