Every New Year’s editorial cartoonist depict the passing of the old year by drawing pictures of an elderly bearded man, dressed in a robe and carrying a scythe and often an hourglass. Who is this geezer and why is he resurrected by the media at the start of every new year?
The ancient Greeks called him Chronos (the root of “chronology”) and the Romans knew him as Saturn, son of Uranus (Sky Father) and Gaea (earth mother). In the middle ages, he was thought of as the Grim Reaper, but now we simply call him Old Father Time. In all of these myths, he symbolizes the inexorable flow of time, both its destructive and constructive effects. But even as his physical vitality dwindles, like an inverted hourglass, it is replenished with serenity, wisdom and the awareness of being part of a continuum. That is the gift of time. Happy new year.
How familiar are you with brand and generic names? Probably less than you realize. Some revolutionary trademarked products have achieved such market dominance that their name has become synonymous with an entire category of product or service. Particularly for breakthrough products, consumers spontaneously use the pioneer brand name generically, even when referring to later entrants in the field. Occasionally companies lose their proprietary rights to a trademark if they let competitors use the name as a common “descriptor” of a category of products and not linked to any one brand. At that point, the word can no longer be registered, a phenomenon known as “genericide.” In other instances, the trademark owner decides not to renew registration and simply lets the trade name expire.
This quiz challenges you to identify whether the name is: 1) trademarked (registered to a specific company), 2) generic (never trademarked), 3) genericized (once trademarked but now a common noun) or 4) former TM (trademark allowed to expire). Answers after the jump.
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For decades, ignorant art directors have perpetrated a big lie, reinforcing sexist stereotypes and insulting females everywhere. They have portrayed the gender of Santa’s reindeer as male, assuming that only male reindeer have antlers and the strength and endurance to haul a jolly fat man and a sleigh filled with gifts from the North Pole to all parts of the world all night. Actually, according to the Alaska Department of Fish and Game, the opposite is true. Rudolph, Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, and Blitzen are all reindeer girls. The Department of Fish and Game knows this for sure because although both male and female reindeer sprout antlers every summer, the male reindeer shed them after they have mated, usually by Thanksgiving. The female reindeer keep their antlers until after they have given birth in the spring. Hence, all of Santa’s reindeer drivers are ladies since they are the only ones with antlers in December. Had art directors been more thorough in their research, they would have figured this out, and they would have known that Rudolph’s (or Rudi, as she is known to friends) glowing red nose is not a facial deformity, but a stylish fashion accessory.
For the past 13 years, Kit Hinrichs has been indulging his fascination with typography by creating the “365” calendar, featuring 12 different typefaces, one for each month of the year. What makes him happy (in my opinion) is viewing each letterform as its own little sculpture — whereas combining characters into words and sentences distract from seeing typography as its own art form. For the 2015 calendar, Kit asked his design staff to nominate fonts that intrigue them and assembled a mix of traditional, avant garde, serif, sans serif, display, and script faces. Then for the 13th straight year, he cajoled me into writing the text. The 365 Typography Calendar for 2015 is now available for sale via Amazon, major U.S. art museums, and from Studio Hinrichs. The calendar comes in two sizes: 23” x 33” (58.5cmx84cm) for $44 retail and 12”x18” (30.5cm x 45.75cm) for $26 retail. Design professionals, particularly, love this calendar and display it prominently to prove their “street creds.” Order now.
Created by Wieden & Kennedy London and directed by Dougal Wilson at Blink, “Lurpak Cook’s Range: Adventure Awaits” is the latest episode in a series of commercials that expose home cooks to the exhilarating universe that they have been yearning to explore. This 60-second epic journey opens to the majestic strains of the soundtrack from Stanley Kubrick’s “2001: A Space Odyssey” and closes in tightly on a mysterious landscape of bumpy cauliflowers, gnarled ginger outcroppings, an artery of pomegranate kernels, and membranes of flaky bread.
It’s bold. Challenging. Heroic. It’s all about butter and cooking oil! This ad for Lurpak, maker of premium Danish butter and cooking oils, is intended to inspire and encourage intrepid cooks to venture forth and discover new culinary frontiers, secure in the knowledge that Lurpak butter won’t let them down.
Winner of a 2014 Cannes Outdoor Advertising Award, this Corona Extra billboard campaign feels like a high school science project on steroids – e.g., drop a raw egg from 30 feet without breaking it, make a rocket that can shoot across a football field, build your own fog tornado. In this case, Corona and its ad agency Cramer-Krasselt in Chicago came up with a way to put a real crescent moon on top of a Corona bottle billboard.
It was all very clever and fun in a geeky way. The idea involved showing an open bottle of Corona Extra surrounded by the moon in its different phases. The beer bottle itself butted up to the top edge of the billboard. By calculating the angle of the moon at a specific geographic location, the time that it would be in its crescent phase, and other measurements, the creative team could precisely predict when the moon would rest on the bottle top like a wedge of lime. Such calculations, however, are typically beyond the ken of “right brain” advertising people, so they turned to experts at top universities and planetariums for help. The consensus was that on June 14 and June 15, 2013, the crescent moon would be positioned over the bottle top shown on the billboard at 15th Street and 9th Avenue in Manhattan. The historic lunar lime event was publicized online and via social media and created such a buzz that spectators came out specifically to witness the moon hovering over the Corona bottle. Such an occurrence is even rarer than a lunar eclipse.
Aurora Vinicola, the biggest winemaking cooperative in Brazil, took a direct approach to recommending wine pairings in these print advertisements created by the agency Dez Comunicação in Porto Alegre, Brazil. Photographer Pedro Minanez and illustrator Miagui Imagevertising did some “photoshop” collaboration to suggest that when poultry, fish and beef are served with the right wine, the occasion becomes even more delightfully festive.
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Fresh on the heels of last year’s titillating Kmart Joe Boxer pelvic jingle choir comes this holiday’s belly-beat encore. Avoiding some of the flack they took for featuring handsome young men who looked like they were hired from the Chippendale chorus line, this year ad agency FCB/Chicago chose a not-so-buff, beer-belly cast dressed in Joe Boxer pajama bottoms. Instead of naming the spot “Show Your Joe” like last year, the sequel is called “Jingo Bellies.” Either way, the commercials are funny, and a refreshing change from the usual cloyingly wholesome holiday ads showing loving couples in ski sweaters drinking hot chocolate by a roaring fireplace.
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Now in its second year, the Tusk Conservation Awards single out individuals who have done outstanding environmental conservation work throughout Africa, with particular focus on protecting endangered species and their threatened habitat. The prestigious honor includes a monetary contribution of £30,000 and £15,000 to support the goals of the winning projects. What the fledgling award didn’t have, however, was its own graphic identity. For that, London-based The Partners stepped up and provided their creative talent pro bono.
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This hamster video actually started as a way for Los Angeles-based social media agency, Denizen, to promote its business of creating branded content for social media venues. They tried to convince their corporate clients to buy into some of their zanier concepts but found no takers. So, Denizen co-founders Joseph Matsushima and Joel Jensen decided to start their own YouTube channel to demonstrate the possibilities. The hamster idea seemed just goofy enough to succeed, but the making of the video was no picnic. Denizen had to bring in a hamster trainer, build a tiny table and chair set with a Thanksgiving decor, and get a food stylist to make miniature food. It took nearly a dozen people a month to plan, script and prep, and another 12 hours to shoot the hamster dinner. What started out as a new business recruitment tool became a YouTube blockbuster attracting millions of viewers. Denizen has made a series of hamster videos and even integrated a tiny hedgehog into the cast. For all creatures, large and small, happy Thanksgiving.
Imagine that you have been invited to Piet Mondrian’s home for Thanksgiving dinner. He’s doing all the cooking and food styling. What would he serve? That’s the fanciful musing of San Francisco-based artist Hannah Rothstein, who created her own impressions of dinner by famous artists. Her interpretations are being offered as 16”x20” signed, limited edition prints. Only 25 copies were produced and the prints are available at $75 each, with 10% of the profits going to the San Francisco-Marin Food Bank. Order here. Happy Thanksgiving.
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Lasso Tyres, based in Turkey, chose a novel way to urge customers to be prepared for winter weather by linking their treads with threads. Designed by Happy People Projects creative agency in Istanbul, these print and outdoor advertisements invite the viewer to make the connection between deeply grooved tires that will hug the road even in the worst weather and very pronounced knit sweater stitches. Very clever and memorable.
Like fine wine, beautiful typography adds a touch of elegance wherever it appears. Creative agency Typejockeys in Vienna, let the typography serve as the graphic identity and packaging for Trapl, an award-winning wine made in Stixneusiedl, Austria, by vintner Johannes Trapl. Each of the seven varieties in the Trapl line has a uniquely designed label featuring Typejockeys’s hand-drawn letters, frames and ornaments. All the legal information is integrated into the wraparound typographic label, so there is no “back side.” Copper-colored foil stamping and blind embossing make for a sophisticated design that is consistently carried through even on the packing boxes.
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This poster has a history that spans decades and continents. It started in 1952 when American photographer Harold Feinstein created a photomontage of Brooklyn’s Coney Island Boardwalk that looked like a music score. Sixty years later on the other side of the planet, someone at Havas Worldwide Turkey in Istanbul flashed on Feinstein’s photomontage while brainstorming ideas for a print ad for Acik Radyo, the only non-state-owned radio station in Turkey. Acik Radyo covers global social and cultural issues and airs all types of music from around the world. Its motto is “Open to all sounds of the universe.” Feinstein’s artistic photomontage perfectly expressed the theme “Music of the People.” The poster was a big hit and went on to win multiple prestigious international honors, including the Cannes Gold Lion and Epica Grand Prix award.
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Assignment: Develop an ad campaign for an appliance that extracts juice from raw fruits and vegetables.
There are so many cliché ways to sell such a product. Show a “loving mother” in the kitchen making nutritious juice for her adorable kids. Feature a young athletic type fixing his own power drink. Do a close-up of the appliance with tantalizingly colorful juice pouring from its spout. Or buy time on a TV shopping channel with a fast-talking telemarketer demonstrating how easy it is to juice anything from a turnip to an artichoke and shouting at the invisible television audience that only three products remain, so call in now.
Or you can take an entirely fresh and novel approach and not show customers, juice or even a close-up of the product. That’s the approach that ad agency BBDO Proximity Bangkok, Thailand chose for Tefal Juicer. The photographs of vegetables and fruits about to burst into liquid form are intriguing and beautiful, and so much more interesting to view.
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This public service ad by the World Wildlife Fund in Belgium needs no translation. Created by VVL BBDO in Brussels, “The Melting Earth” ad is a metaphor that works across all cultures and even communicates in a way that children can understand. The text in the boxed space warns: “The first signs of global warming are now clearly visible. We urgently need to limit greenhouse gas emissions. Nothing and no one will be spared from climate change….” As much as the image communicates the point instantly, what’s needed are follow-up ads/posters/booklets that spell out pragmatic steps that each individual can take. It’s not just a a problem for the world or a nation to solve. It demands action on all of our parts. But the public needs more guidance on what we as individuals can do to lick this problem before we suffer an irreversible meltdown.