Advertising Agency: Kiss Films Inhouse Creative, India
Design / Concept: Dalbir Singh
Photographer: Ashish Chawla
Stylist: Rishi Raj
Models: Katrina Levshova Day, Marina Grigoreva, Marcela Cura
Make Up: Bishnupada Sinha, Kazi Rai
Hair: Avinash Sinha, Karan Rai
Production and Creatives: AAA productions, www.ashishchawla.com
We are truly grateful for all your attention given us here on the website and in social media. We just launched our Ads of the World Google+ page, so if you like you can follow us there too. We're on Facebook and Twitter too.
An ancient Mayan prophecy, indicates the 21st december 2012 as the possible "end of the world" day. To exorcize this fateful event, Campari realized a calendar on this theme. In the shots the actress Milla Jovovich wears 12 surreal dresses representing some of the possible disasters that will end the world. Needless to say, the calendar ends the 21st of december.
Creativity takes time. If clients don't give enough time to agencies they will only come up with first ideas. To prove this hypothesis to clients agency produced a film and sent it to clients. Watch the Café Creative Golden Drum 2011 shortlist video.
A recruitment poster that takes digital job applicants to our website via a new kind of QR code. Unlike most QR codes, this one can be read from any angle, and will take them straight to a digital recruitment page on our website where they are given an email address to send their CV to. The right candidates will download the latest QR reader at www.i-nigma.mobi on their mobiles to view. See details below.
Barcelona-based and Blacklist-repped Dvein were invited by the Spanish film director Kike Maíllo to take part of his first feature film, Eva, by making the main titles as well as a machine called the Hand Up.
Eva is a retro futuristic sci-fi thriller in which Alex, a young scientist, returns to the town where he grew up to complete an unfinished project and create a boy robot. For more infos about the film visit evalapelicula.com.
Introducing director Jeff Low’s first music video – “We Met” for Jennifer Courvoisier.
Coming out of an election period in Canada, when director Jeff Low saw people canvassing door-to-door for votes, he thought, wouldn’t it be funny if they were asking home-owners if they could come in and dance for them instead of soliciting for votes. So the concept for this music video was born.
When told of the idea, Courvoisier, who Low knows through friends, loved it and the song “We Met” was chosen for the video – which is fitting as they are going around meeting people.
The video was shot over two days in Toronto with Courvoisier and the crew knocking on about 75 doors asking to gain access to perform and film.
“I was surprised by how many people would open their doors to us,” says Low. “It got to the point where we were shocked when people didn’t let us in. I couldn’t believe how many people were willing to let cameras into their homes.”
Song: We Met
Artist: Jennifer Courvoisier
Director / Concept: Jeff Low
Director of Photography: Carey Hollinger & Jeff Low
Editor: Jeff Low
Advertising Agency: Periscope, Minneapolis, Minnesota, USA
Art Director: Brian Boord
Copywriters: Scott Dahl, Rob Peichel
Illustrator: Brian Boord
Creative: Enrique Espinoza
Advertising Agency: Maksim Fulltime, Guayaquil Ecuador
Chief Creative Officers: Jimmy Landaburu, Chuck Vallarino
Art Director: Jimmy Landaburu
Copywriter: Freddy Ordoñez
Advertising Agency: Redlime, Sri Lanka
Advertising Agency: Bang In The Middle, Gurgaon, India
Chief Creative Officer: Prathap Suthan
Art Director / Copywriter: Viral Pandya
Advertising Agency: agenta agenturgruppe, Münster, Hamburg, Berlin
Managing Directors: Oliver Grage, Andre Schmechta, Michael Hartung
Creative Directors: Dominik Heinrich, Christian Broll, Stefan Stumpe
Art Directors: Ulrich Hock, Manfred Teschlade, Bettina Schnake
Advertising Agency: DDB Cairo, Egypt
Creative / Illustrator: Ahmed El Habashy
Advertising Agency: Erwin Penland, USA
Executive Creative Director: Andy Mendelsohn
Associate Creative Directors: Stephen Childress, Rick Bryson
Advertising Agency: The Lab Ideas
Creative Director: Mariano Kalmus
Creative: Odysseas Galinos- Paparounis
Advertising Agency: Euro RSCG 360, Lyon, France
Executive Creative Director: Hugues Pinguet, Stéphane Morel
Art Director: Quentin Delachaux
Copywriter: Stéphane Le Frapper
Creative: Craig Fitzgerald
Copy and Art Director
Advertising Agency: Aayan Communication
Executive Creative Director: Fayyaz
Creative Director: Ali Saeed
Copy Writer: Faiz Ahmed
Advertising Agency: Extra Credit Projects, Grand Rapids, MI USA
Creative Director: Rob Jackson
Art Director: Josh Best
Copywriter: Scott Schermer
Advertising Agency: Mangomedia, Ciudad de Guatemala, Guatemala
Creative Director: Martin Cheren
Art Director: Martin Cheren
Copywriters: Martin Cheren, Massimiliano Ricci
Advertising Agency: San José, Costa Rica
Creative Director: David Carvajal
Art Director / Copywriter: David Carvajal
Advertising Agency: ACTIF Advertising Agency, Costa Rica
Advertising Agency: Publicis, Montreal, Canada
Creative Directors: Nicolas Massey, Carl Robichaud
Art Director: Carl Robichard
Copywriters: Nicolas Massey, Luc Mérineau
Advertising Agency: AUFBRUCH, Düsseldorf, Germany
Art Director: Alexander Gerlings
Junior Art Director: Magnus Siemens
Copywriter: Robert Meißner
Advertising Agency: Evolution Alexandria, Egypt
Art Director: Khaled Soliman
Advertising Agency: vollblutwerber
Creative: Malte C. Bayer
Advertising Agency: Leo Burnett, Sri Lanka
Advertising Agency: dlk estudio, Caracas, Venezuela
Creative: Joel Pallotta
Advertising Agency: Paradigmplus, India, Pune
Creative Director: Nitin Adake
Art Directors: Nitin Adake, Dinesh Sapkale
Copywriter: Nitin Adake
Typography: Nitin Adake, Dinesh Sapkale
Published: Octover 2011
Advertising Agency: Friday Creative
Creative: Milan Vuckovic
Creative: Elmalah Ahmed
Advertising Agency: Leo Burnett Colombia
Copywriter: Marvin Leiva
Art Director: Jorge Valencia
Advertising Agency: DDB, Cairo, Egypt
Creative / Art work : Muhammad Salah
Every day this calendar reveals a new Polaroid photo, each with its own little story: on the front of each calendar page there is a Polaroid on the back there is a short description about the background to the photo and information about the photographer.
POLADARIUM 2012 is published by seltmann+söhne Lüdenscheid, Berlin. Edited by Lars Harmsen and Raban Ruddigkeit. Publication date is October 10th, 2011.
Its not too much of a statement to call Steve Jobs the father of the modern creative class.
The first thing I ever wanted to be was an illustrator and the first place I ever really practiced that craft was on my Apple IIc. This was in the early 80s, and despite the fact that my mother owned a small ad agency at the time, it wasnt clear to me that Illustrator was a conceivable profession. I attempted to find a more practical application of my creative desires - architect. But from this, too, I was dissuaded - many architects simply spend their careers creating plumbing diagrams for office buildings I recall being told. So I aimed for Doctor - surely this was unassailable! And off I went to Trinity College. With my Macintosh.
There, in my freshman year, I got my first email address and downloaded the Mosaic browser and learned what a hyperlink was and went for the first time to the many strange and beautiful destinations it could take me. There on the Internet and on my Mac I opened my consciousness to an entire world of media being made and people making it.
I began recalling more frequently the many preteen hours I'd spent with MacPaint and Print Shop. Sunday dawns filled with the incessant screeeeeeeech and whir, screeeeeech and whir of a dot matrix printer howling out a 14 foot banner: Happy Mothers Day! Maybe there was an Illustrator still in me?
But by this time I was a writer. The die had been cast. I edited the Opinion section of The Trinity Tripod with Jamie Evans. In addition to writing and editing, we also had to lay out the section each Tuesday night before the printer pick-up on Wednesday morning at 6 AM. This was where I learned desktop publishing, in Quark and Photoshop, on top-of-the-line Macs.
Using those wonderful computers made this task fun. I could move pictures - and type! Oh those are called Drop Quotes! And slowly, as I completed all of the Pre-Med class requirements and contemplated taking the MCAT, I realized I didnt need to take the MCAT, or become a doctor. I realized that being a creative professional was not just a possibility, but that it was happening - people just a few years ahead of me were graduating and doing just that! And I could too!
And if this feeling was strong enough to penetrate the thoroughly pre-Med, pre-Law and pre-Corporate ramparts of Trinity College I knew it was real. And all of these realizations happened face to face with and largely because of the power of Apple computers. And my entire career has followed. And I am not alone.
Some version of this story can surely be told by every one of my colleagues. We are not masters of the universe, we are pious citizens of the creative class. We are aesthetes and nitpickers, masochists and technophiles, organizers and disorganizers, pixel-pushers and stubborn brats, nerds and artists, oversharers and brilliant hermits, scientists and authors, gamblers and brigands, drawers and dreamers.
Fred & Farid have announced the creation of KIDS LOVE JETLAG, a creative influence agency.
Unlike other FRED & FARID GROUP agencies (FRED & FARID PARIS, HELLO SUNSHINE, EDDI&SON, FURIOUS MONKEYS), this 5th agency has been developing across different fields and, in addition to their "hard-core" of digital strategists and community managers, integrates a number of social network devotees who currently work within those 4 existing agencies.
J Crew, one of South Africa’s leading men’s fashion retailers has produced a new television advert aimed at promoting their 25% Off Men’s Shirts special offer. Accompanying the advert is an oh-so-sexy behind-the-scenes video bound to create a bit of a stir.
With the upcoming premier of the Dallas series in summer 2012, Turner Networks commissioned Martin Schoeller to shoot portraits of the show’s cast in Plano, TX. These images, that include returning members of the original cast as well as a new generation, will be used for promotion of the show.
Advertising Agency: Y&R Paris, France
Creative Director: Laurent Bodson
Art Director: Antoine Mathon
Copywriter: François Faure
Photographer: Fred Meylan
Retouching: Fred Perrot / The Shop
Models: Elite Paris, Metropolitan, Next Models. Rosanne Olson
Published: January 2011
Neil French is without a doubt one of the most inspiring and famous advertising copywriters ever lived and he has just published a book about his professional and personal life titled Sorry for the Lobsters.
Read Indra Sinha's foreword
A CRAB STARTER
Twenty years ago, the journalist Philip Kleinman and I were sitting in a shack-on-stilts in a swamp off the southwest tip of Malaysia dismembering large mangrove crabs and discussing the problem of what the hell to do about Neil French.
I had just finished judging the Singapore Creative Circle awards. There were five judges, three of us from London: me (CDP), Alexandra Taylor (Saatchi) and Steve Dunn (Leagas Delaney). We were all experienced D&AD jurors. It was in our blood to be cruel, ruthlessly to reject anything less than perfect, to acknowledge only what was outstanding and reward nothing but the conspicuously brilliant.
We’d arrived not knowing what to expect. Singapore surprised us.
On day one, we were asked to listen to an opera, written and performed by a local agency and entered in the ‘self-promotion’ category. It was three hours long.
‘I’m not giving it three minutes,’ said Dunn, never a diplomat. ‘It’s a piece of unmitigated shite.’
On day two we were surprised again, this time pleasantly. Among the thousands of press ads lining the walls were a considerable number of striking ideas, witty, unexpected, many of them written with a sort of rakish nonchalance that we guessed must be typical of the easy-going Singaporean way of life. We further supposed that, as would have been the case in London, this pool of excellence represented the work of probably half a dozen of the most creative agencies.
When the judging was over, we learned that we had awarded 3 of our 5 golds, 19 of 23 silvers, 30 of 45 bronzes and the Campaign of the Decade to just one agency.
Not only that, they were all the work of one person.
Well – as you can imagine – consternation! We’d made a mistake. Must have.
In a panic we decided that we had no choice but to recall all the entries – the entire show – and judge the whole lot again. It was 9 pm, we’d been working for twelve hours and fwelling can die lah, as they say in Singapore, but sandwiches were sent for, and gallons of coffee, and we began the long trawl, looking for something, anything, we might have missed that just might deserve an award – anything not by Neil French.
Somewhere deep in the small hours we stopped and admitted defeat. We had found . . . nothing.
Kleinman, tearing into the crustaceans, had been giggling and sniggering as I unfolded my tale. Now he had a fit of hysterics and coughed fragments of crab all over me. As an ex-editor of Campaign he'd been around advertising long enough to see the problem.
‘Oh this is hilarious. It’s fucking genius. You’ve done everything in your power to take away his awards and give them to other people, and they are going to complain that you rigged it.’
‘Only one thing to do,’ said Kleinman. ‘On the way back we buy a durian fruit. You know, one of those bloody great spiky things that look like armoured footballs. They smell so awful they’re said to taste like eating custard in a lavatory and they’re pollinated by bats and the Singapore government has banned them from the subway and hotels. So we get a durian, smuggle it into our hotel, then just before the awards dinner, you nip downstairs and slide it under Frenchie’s table. It’s the only way.’
‘The only way to what?’
‘To remind the bugger that he is human.’
According to his own confession, Neil French arrived in Singapore on the run from the British police and taxman. He stayed 25 years and what he did there changed advertising, first in Asia, then in the rest of the world.
It has taken Neil’s friends, me among them, years to persuade him to write his memoirs. This book is the happy result. It tells the stories of some of the campaigns we rewarded on durian night all those years ago, plus many others. Woven in are stories from his personal life. And what stories!
When Neil invited me to contribute this preface I said to him, you do realise that after you called my first book ‘unreadable’, asking me to write about yours could be a bit of a risk. He laughed. Well, I guess that when you’ve been a bouncer, a matador, a pornographer, dated a Mafia’s don’s daughter then refused to marry her, and had a contract put out on you by a disgruntled girlfriend, you don’t frighten easily.
So, here it is at last. Neil French in his own words. Great ads, great stories, great fun.
And like everything the man writes, very very readable.
Large-scale Banners, Film & Website Showcases People & Pool in Los Angeles
Original Film director and photographer Judy Starkman has been a swimmer all of her life, a passion that offers a counterpoint to her life in commercial directing and advertising. It was during one of her hour-long swims at the Culver City Plunge, a not-so-well known municipal pool, that she developed the idea for a unique public arts project now on display as large-scale banners along Culver Blvd. The project fuses Starkmans photography and directing endeavors in an integrated project that is part civic promotion, part documentary photography project that includes stills on banners, a custom website www.thesecretlifeofswimmers.com and viral promo short film that can be viewed here: http://bit.ly/secretswimmers.
The Secret Life of Swimmers illuminates a story Starkman knows well--that every die-hard swimmer has a life outside the pool. And that swimming is the great equalizer. Each character in The Secret Life is seen in the regalia of his or her everyday life and, in an identical pose poolside, baring all. Or nearly all.
The banners feature such real-life characters as a UCLA English professor, a local chef, a truck driver, a firefighter, a young mother, a veterinarian, and a physical trainer who lost a leg in an accident. Like Judy, all are self-proclaimed lap-swimming addicts who have a found a special kinship and community at the Culver City Plunge.
No one was afraid to pose for me, or to appear virtually life-size on street poles throughout the city, says Starkman. They are young and old. Some are in fantastic shape, but most are just regular people.
Starkman says the idea came one day in the locker room, when a middle-aged woman, dressed in a business suit began getting herself ready for the water. I watched as this obviously high-powered, buttoned-down person transform herself in minutes into a swimmer just like all of us. There was such a striking difference in her appearance, I thought about her while I was swimming. I thought to myself, this is her secret life. It was literally then the idea popped in my head.
The Director/Photographer envisioned the project as a series of diptych photographs, and began asking swimmers who caught her eye to pose. She would photograph them first at the pool, and then in their other environment--business, home, and so on.
My first subject was Blake Allmendinger. All I knew was that he was a dedicated swimmer, with a meticulous stroke and a deep tan, she says. It turns out he is a professor of English at UCLA who specializes in the history of the American West. Starkman photographed him in his skimpy Speedo bathing suit poolside, and then in his office where he is researching his next book, and where he feels comfortable wearing some of his western gear.
Word soon spread among the regulars at the pool, and soon Starkman was busy capturing the secret lives of many of her fellow swimmers.
One of my subjects was Barry Shore, who by all accounts, is the happiest man at the pool, she says. Barrys story is inspirational. A non-stop businessman and entrepreneur, Barry woke up one day -- years ago completely paralyzed. He had contracted Guillain Barre syndrome.
Barry struggled through years of physical therapy, but never truly regained mobility until he began swimming at the Culver City Plunge. On the street, he makes his way using a walker. In the pool, he swims laps an astounding three hours each day.
A devout Jew, Barrys secret life, shows him at his orthodox synagogue in West Los Angeles. Normally not open to women, Starkmans photo shoot was an adventure in itself.
Barry was great, she says. The Rabbi was a little nervous.
Starkman photographed Jason Christopher, another inspirational swimmer. Jason, a personal trainer, lost a leg in a traffic accident, and hops to the waters edge to begin his swimming routine.
Daniel Dobbs is a Culver City firefighter, who posed for Starkman in front of a wall of flames at his training academy.
Nina Shorey is a tattooed wife and mother whose job is restoring antique flutes.
And so on...
Starkman first approached the City of Culver City more than a year ago to pitch the idea for a public arts display featuring her swimmers. The city responded positively, eager to promote the Culver City Plunge Pool as place of community in the hectic metropolitan area. Together they devised a plan. The street banners will be displayed along Culver Blvd. right in the heart of downtown, and then moved to Sepulveda Blvd where they will hang for twenty-four months.
"I always have an eye out for interesting stories or characters and am naturally curious, concludes Starkman. It's not something that has an off switch. It's automatic so even while I'm swimming I can see the potential in a subject. The process of discovery is equally as thrilling."
Raphaël De Andreis is CEO at BETC Euro RSCG Paris. He recently attended the e-G8 meeting and would like to share his insights. The result is a sharp report on social media from a marketing expert on the inside.
I have just had a unique experience. At the e-G8, I witnessed the political triumph of the e-brands. Be it on stage, with Mark Zuckerberg (Facebook), Eric Schmidt (Google) John Donahoe (EBay/Paypal), or in the audience (LinkedIn, Twitter, etc.), they were all there, with the exception of Apple.
The e-brands have become so powerful that the eight greatest powers in the world need to dialogue with them in order to govern. They are powerful from an economic point of view (between 20% and 30% of GDP growth is tied to the Web) and powerful from a political point of view - their presence or absence in a country is a criterion of democracy according to French President Sarkozy and President Obama has already turned Facebook into the key medium of his re-election.
For the first time in corporate history, a handful of companies, aged 5 to 25 years at most, can credit themselves with playing a vital role in society. From Tunis to San Francisco, who could imagine living without them?
A person working for a well known agency wanted to let advertising people know that copywriting ain't dead. He sent me this to be posted on Ads of the World. Enjoy.
It was a time when copywriters were akin to their peers, art directors, and recognised as genuine creative - able to imagine concepts and concretely write advertisements -.
But these heydays are well and truly over.
Neil Frenchʼs testimony - Nobody reads long copy any more. Hereʼs why - was kind of prophetic.
As a result, the buck they make from writing unread contents, do not worth the amount of work. In fact, typing or making a pen moves down along, will not get you chauvinistic at all!
Honestly, any lad can “find” a nice tag.
All he needs to know is how to use “Word Office”. - By the way, do not forget this damn dictionary of synonyms -
Then, in an excess of confidence, the same lad who found a tag in a flash can also write a body copy.
So, in the space of three sentences (count them), he actually did the job; quicker while being cheaper.
Moreover, he did it shorter therefore easier to understand (not to say meaningless) by the hoi polloi.
Cause you know, targets ainʼt fey enough to get slick writing, they say. (narrow advertising folks and narrow clients – aka dumb & dumber)
To sum up, agencies do not need copywriters any more.
Planners and Account Managers are good substitutes.
But remember, itʼs not because you can talk that you are a good singer. In the same way, itʼs not because you can walk that you are a good dancer.
Nevertheless, the problem with copywriting is elsewhere.
The craft was roughly labialized as “words on paper”. Whereas it is not only about writing but also about telling stories to sell.
And not everyone is able to deal with this part of the job.
Gobsmacking slogans and bodies can be played as a scenario and narrated as a speech.
Gill Scott Heron (may he rest in peace) is the perfect example of writer, capable of elevating his style to different levels.
Listen to his glittering “Message to Messengers” and take the instrumental off. Likewise, read the lyrics straight from the sheet.
In any forms, the story remains powerful, because it draws images in people minds.
Basically, creative writing should translate words into scenes.
You might now understand why the title, “Farewell dear copywriters” cannot be pictured;
Copywriters are as useful as necessary. Simple as that.
A brilliant idea and edited to perfection by Cut + Runs Mr. James Rose. Directed in a quirky music video style with a twist by David Wilson (Blinkink), the idea was engineered by Wieden + Kennedy creative team Oli Beale and Alex Holder. Using the Sugarbabes new single Freedom the style is miniature pop video using puppeteered plastic dolls...every little girls dream... The limited edition pink phone is set to take the world by storm. Watch the ad and below the making of it.
Wingsplay is the first platform dedicated to connecting viral video advertisers with influential social media users.
Our ambition is to create the most efficient video advertising network ever, by leveraging the publishers who generate the most viral actions: influential social media users, as well as the most entertaining promotional content: viral video ads.
On Wingsplay, influential social media users discover the latest viral video ads before anyone else. When they view a video they particularly like, they share it on social networks and blogs, and make money each time the video is being viewed. Wingsplay is designed to create a fun and entertaining experience, for influencers and their audience, friends, fans and followers.
Advertisers Without Borders is an international network of advertising professionals. Our profession leaves little extra time but it is enough to donate public service campaigns that impact local, regional or global. This network is activated immediately to emergencies, disasters and human tragedies by giving immediate response to a speedy and effective communication. We do this directly or in conjunction with civil society organizations and international agencies. I urge you to join as an individual professional or team of your advertising agency with the objective of multiplying efforts to promote a better world for all.