Convinced that advertising creatives see everything myopically through the lens of their craft, the Dallas Advertising League chose the theme “Obsession Has Its Place” to promote its Addy Awards in 2012. TM Advertising developed nine hilarious scenarios of singularly focused ad men and women dealing with everyday life situations. Jeremy Bartel of Liberal Media Films directed the videos, Jason Burks directed photography, and Charlie Uniform Tango did the post-production. Here are just two of the videos. To see the rest, go here.
Wild Winter Ale is the fourth in a limited edition series of seasonal beers released by Danish brewery Mikkeller in 2012. The label, created by Swedish graphic design agency Bedow, features a simple silhouette of a leafy apple tree, printed with thermochromic ink. The ale is meant to be kept refrigerated or at least cold until serving. What makes this label intriquing is that the ink is heat sensitive. As the label gets warm from being held in the drinker’s hand, the tree begins to shed its leaves until only its bare limbs remain.
Thermochromic inks were first popularized in the 1970s, appearing in “mood rings” that changed colors supposedly indicating the wearer’s emotional state. Increasingly, designers are finding creative ways to use heat-sensitive inks in printing.
If you’re like many of us, the more the cable TV news commentators explain how the electoral map of the United States works, the more confused we become. If viewed purely from the perspective of landmass, the red states (Republican) overpower blue states (Democratic), and the all-powerful “swing” states that supposedly will determine the outcome of the national election aren’t that important or trendsetting (sorry, the truth hurts) except during Presidential election years. So, it is enlightening to view this National Public Radio video produced by Adam Cole, although I’m not sure how listeners can see it on the radio. Never mind. If you haven’t voted yet, do. There are just a few hours left to cast your ballot if you are on the West Coast or Hawaii.
Coca-Cola has just unveiled six limited-edition cans to cheer on Team USA at the London Olympics this summer. San Francisco-based design agency, Turner Duckworth, combined three of the world’s most recognizable icons to communicate the entire story –the stripes of the American flag; the five interlocked rings of the Olympic logo and silhouette of an athlete, and Coca-Cola’s signature red and Spencerian script logotype. The effect is succinct, direct and graphically powerful. Coca-Cola is rotating the can designs throughout the summer, with a new one appearing every two weeks, culminating with a special composite logo timed for the opening of the Olympic Games.
The Bay Bridge, which connects San Francisco to Oakland and the East Bay, has always played second fiddle to the glamorous Golden Gate Bridge. Even though both spans are celebrating their 75th anniversary this year, the drab gray Bay Bridge never stirred the heart the way its flashy orange sister span has. The Golden Gate Bridge’s 75th birthday was commemorated with fireworks, a fancy new visitors’ center, and souvenir trinkets of all kind. On the other side of town, it was business as usual on the Bay Bridge, with some 270,000 vehicles crossing its span daily.
Pentagram, the international design consultancy, celebrated its 40th anniversary this year with a stop-motion video, narrated by a voice that sounds somewhat like the Dos Equis “most interesting man in the world.”
“The Forty Story” is a tale of a boy born on the day that Pentagram opened its doors in London, and shows how his life has been impacted by 40 years of Pentagram design. To chronologically (more or less) knit together a small sampling of Pentagram’s amazingly diverse body of work, the storyline veers wildly, starting out by claiming the boy was born in a BP petrol station, walking in Clarks shoes by age 1, shaving with a disposable razor by age 3, publishing poems about Pirelli tires with a Parker Pen by age 6, and acclaimed by Reuters as a lad before being panned by Italy’s 24 Ore and resorting to antidepressants. The story goes on until he finds love and contentment, with Pentagram’s portfolio of projects flashing across the screen.
The script was written by Naresh Ramchandani and Tom Edmonds, directed by Christian Carlsson, with titles by John Rushworth.
Congratulations on your first 40 years, Pentagram! May your next 40 years be just as stellar.
Lately street banners with a logo of the Golden Gate Bridge have been popping up all over San Francisco to mark the 75th birthday of the city’s most beloved icon. Designed by Studio Hinrichs, the anniversary logo features the Bridge’s familiar vermillion red (aka International Orange) color, its soaring 746-foot-high tower and the Art Deco-styled sunburst border of the rivets that bolt the Bridge together. Applied to everything from signage to souvenir merchandise, the 75th anniversary logo was created to work in one-, two- and four- colors and remain crisp whether etched onto glass, cast in metal, or stitched on fabric. Along with the logo medallion, Kit designed a special Bridge typeface, called Golden Gate Girder, for a commemorative poster, single alphabet letter keychains and other uses.
Since the DC Comics logo (the DC stands for Detective Comics) first appeared in April 1940, it has gone through more quick changes than Superman — four logo revisions in the 1970s alone. Now DC Comics has unveiled yet another logo update. This time designed by Landor Associates.
The new logo, which launches in March, shows the “D” peeling back to reveal the hidden “C,” suggesting the dual identity of the DC Entertainment superheroes. Designed to look three-dimensional and be adaptable to different media, the new logo allows for color changes and texture and image changes within the “C.” It is easily animated and quickly customizable too.
Some typefaces aren’t meant for everyday use. They often aren’t readable as running text or even for headlines. Most will never be licensed for public use nor are they commercially available. But they set the mood, add their own graphic interest, and tell their own slice of the story. That is the case with several of the typefaces featured in the 365 Typographic Calendar for 2012.
Take Girder, for example. Asked to create the identity for the 75th anniversary of the Golden Gate Bridge next year, Kit submitted an alphabet as part of his presentation. The alphabet took its inspiration from the riveted girders that formed the unpinning of the bridge. The immediate association with San Francisco’s most famous landmark offered a visual linking device in the visitors’ gift shop, and made a distinctive image for all kinds of tourist souvenirs, from key chains to coffee mugs.
Two guys from the London brand/design consultancy Wonderland WPA walk into a classy bar and ask for a soft drink that is not the kind you can get out of a vending machine or in the refrigerated section of a truck stop.
That may seem like the set-up for a joke, but it is how Story beverages came to be invented. Finding the choice of alcoholic drinks in fine restaurants and bars limitless, but the availability of upscale nonalcoholic ones few and far between, Wonderland WPA saw a market niche begging to be filled. They defined a new category of soft drinks that would be offered exclusively in bars, restaurants and hotels, and created a brand identity that looked stylish and grown-up. The simple, elegant packaging enhanced the perception of being sophisticated and worthy of drinking on a special night out. Launched in August 2011, Story will initially be sold only in the UK, with plans to introduce it into export markets in 2012.
Just over a year ago, we ran a story about innovations in 3-D projection mapping. At the time, it was largely a performance demonstration that hadn’t yet become established for commercial marketing purposes. Now it has. This dazzling 3-D mapping stunt was created in Malaysia for the 2012 Hyundai Accent, which will be debuted at the New York Auto Show later this month. The part of the video that is real is the car, which was suspended from the side of a building, and the driver who “walked” to the car and got in to “drive.” The wheels spun, but the rest of the imagery was computer generated. One thing about 3-D mapping films is that they need to show viewers the reaction of the in-person audience and even the behind-the-scene production work to truly appreciate what the producers pulled off. Otherwise, just seeing the 3-D show on a screen would lead many to conclude that the whole thing was done on a computer.