'Billboard bench' by Serbian designer Relja Perunović gives new purpose to the ubiquity of urban advertising. A panel displaying ads and service announcements can be rotated downward in its frame to instantly transform the small billboard into public seating.
Charlex's latest creation, ShapeShifter, opens mysteriously on a dark car, speeding through the night on winding mountain roads. It is set to a haunting musical composition and prose poem, performed by Gabriel Byrne.
Getty Images' 27 Letters released the Top 10 of 2010. It highlights what Getty have identified as the greatest trends from around the world. Use the small arrows to navigate. Click source to view the project.
Saatchi & Saatchi Los Angeles doesn't like the traditional approach to anything, including the holidays. So instead of having a passive holiday card for 2010, Saatchi LA teamed up with Deep Local, the mechanical masterminds behind the Livestrong Chalk Bot, to create an interactive, robot-powered, eggnog-fuelled drinking game.
At www.NogPong.com, Saatchi LA's holiday friends were invited to play a game similar to the popular college game beer pong. Successfully fire a ping-pong ball into a cup of eggnog and a festively dressed Saatchi employee had to drink it down.
Players remotely used a robot (aka the Nog Bot) that was specially designed to fire plastic projectiles. They could also participate by chatting with the Saatchi players via tweets to @SaatchiLA. By having players sign up via Facebook Connect, with the option to share, word traveled fast:
- 17,000 unique visitors
- Tweets and site visits from over 60 countries around the world
- Nearly 8,000 Ping Pong balls shot
- 2,000 Ping Pong balls sunk
Behind the fun and games was holiday giving--Saatchi made donations to three non-profit organizations: The Amanda Foundation, Free Arts for Abused Children and New Directions. Every shot made and cup of nog downed contributed to this donation, so holiday card recipients were encouraged to do a little holiday good with each ball thrown.
The site and game had a limited engagement, running from December 14 -17 with matches taking place between 11:00 a.m. - 7:00 p.m. PST.
Short documentary was produced to demonstrate that Tetra Pak "protects what's good".
Advertising Agency: Erasmus Partners, London, UK
Creative Directors: Ross Cairns, Matt Follows
Art Directors: Oscar Powell, Nick Shea
Copywriter: Oscar Powell
Photographer: Ross Cairns
Aired: September Onwards 2011
Advertising Agency: DDB Budapest, Hungary
Chief Creative Officer: Peter Tordai
Group Creative Head: Rodrigo Fernandes
Art Directors: Carlos Ramas, Rodrigo Fernandes
Copywriters: Eva Juház, Peter Tordai
Head of Innovation: Gabor Szanto
Sound Design: Carlos Ramas
Photographer: Krisztian Vollmuth
Programmer: Andras Csizmadia
Published: December 2010
Advertising Agency: Cutwater, San Francisco, USA
Executive Creative Director: Chuck McBride
Creative Director: Travis Britton
Art Director: Bo Deng
Designer: Bo Deng
Producer: Jeremy Summer
Art Buyer: Justine Barnes
To get a job in the ad biz, you're gonna need a kick-ass portfolio. Once you have a great portfolio, you need to know how to make sure people see it. Mediabistro's AgencySpy editor, Kiran Aditham, takes you through the steps to become a real-life Mad Man.
Here is one of the videos from our Advertising, Branding and Design education school Creative Pro. It will give you a taste of the dozens of hours of content you will find inside.
Toshiba features some awesome origami sculptures that tell the story of developing innovative products starting from a blank sheet of paper.
Advertising Agency: Grey Düsseldorf, Germany
Director: Hauke Hilberg
Director of Photography / Animation Director: Jim Lacy
Creative Directors: Moritz Grub, Regner Lotz
Production: Bakery Films, Berlin
Music&Sound Design: BLUWI Music & Sounddesign, Hamburg
Aired: December 2010 in Germany, Italy, Portugal and Spain
Olly Moss' take on the original Star Wars Trilogy. Officially-licensed, limited edition 24x36” screen-printed posters available through Mondo Tees on Monday 20th December. A small number of signed artist-proofs will be available from me on Wednesday 23rd December.
The Freelander 2 is a car that excels in both a natural environment and an urban landscape. To dramatize that fact, Y&R NY wanted to show two characters fighting over the car, one character representing nature, the other representing city. Almost like two children fighting over a toy.
The execution was vitally important to get right, so they turned to renowned artist Levi van Veluw. As Menno Kluin, Head of Art, states, “Once we had the idea, we immediately thought of using Levi. His style is ideally suited to the idea and we knew he could bring it to the next level.”
Within four weeks Levi hand-made two mannequins from scratch in his studio in the Netherlands, and photographed them. Both mannequins have an impressive amount of detailing: "City" consists of model cars and other miniature objects as well as small, wooden blocks, while actual moss, grass, leaves, flowers and mud were used to create "Nature."
You may have noticed the new GumGum advertising that we're testing for anonymous users. They appear on the bottom of images. We thought to test how effective it is especially compared to google adsense ads and let you know in a further blog post in case you need it for your site or your clients. Do let me know if it's causes any issues for you. If you're bothered by them, feel free to register on AotW to disable the ads and to enjoy many other benefits that come with the free membership.
Learn to sell in the USA.
Learn to art direct in Brazil.
Learn strategy in South Africa.
Learn to write copy in Australia.
Learn about diverse cultures in Asia.
Learn about creative ideas in Europe.
Make money in the Middle East.
If you're tired of watching music videos featuring people with clothes on, or, worse yet, videos in which people's bodies are constructed according to the basic laws of biology, then you need to check out the Klaxons' Twin Flames, which both dispenses with the excess outerwear and gives us a whole slew of new ways to look at the human body.
Planters, America's leading snack nut brand, launches a new marketing campaign that features Mr. Peanut, the beloved icon, speaking for the first time in 94 years in a series of stop-motion animation commercials that bring to life the “Naturally Remarkable” world of Planters.
Watch the two stop-motion commercials and how they were made.
You can follow Mr. Peanut's witty commentary on Facebook.
On Mad Men this season, Roger Sterling writes a book called Sterling's Gold. That book is available for pre-order on Amazon in the real world.
Advertising pioneer and visionary Roger Sterling, Jr., served with distinction in the Navy during World War II, and joined Sterling Cooper Advertising as a junior account executive in 1947. He worked his way up to managing partner before leaving to found his own agency, Sterling Cooper Draper Pryce, in 1963.
During his long and illustrious career, Sterling has come into contact with all the luminaries and would-be luminaries of the advertising world, and he has acquired quite a reputation among his colleagues for his quips, barbs, and witticisms.
Taken as a whole, Roger Sterling’s pithy comments and observations amount to a unique window on the advertising world—a world that few among us are privileged to witness first—hand—as well as a commentary on life in New York City in the middle of the twentieth century.
A few “sterling” examples:
• When a man gets to a point in his life when his name’s on the building, he can get an unnatural sense of entitlement.
• The day you sign a client is the day you start losing him.
• Being with a client is like being in a marriage. Sometimes you get into it for the wrong reasons, and eventually they hit you in the face.
• When God closes a door, he opens a dress.
Sterling's Gold covers it all: business, marriage, and the taste of success made sweeter with a glass of something strong.
The organisers of the 58th Cannes Lions International Advertising Festival are pleased to announce the launch of the Cannes Creative Effectiveness Lions in 2011.
Creative Effectiveness Lions will honour creativity which has shown a measurable and proven impact on a client’s business - creativity that effects consumer behaviour, brand equity, sales, and where identifiable, profit.
Only entries that were either shortlisted or Lion winners, across all categories, at Cannes Lions in 2010 will be eligible to enter into Creative Effectiveness Lions 2011, as these will have already been judged and established as being creatively world-class by the 2010 Cannes Lions juries. The success, therefore, of an entry in the Cannes Creative Effectiveness category will endorse the effectiveness of that creative excellence.
Entries in the Cannes Creative Effectiveness category will be rewarded for Strategy (25%), Idea (25%) and Results (50%). The entries will be judged as one, with no categories, and the awards will be Grand Prix and Creative Effectiveness Lions (no Gold, Silver or Bronze). The winners will be honoured in Cannes on Saturday 25th of June 2011 alongside the Film, Film Craft, Titanium and Integrated Lions winners.
Commenting on the new category launch, Terry Savage, Festival Chairman, said, “With the introduction of the Cannes Creative Effectiveness awards we aim to establish a direct correlation between creativity and effectiveness. Cannes Lions has always been, and always will be, a Festival of Creativity, however now more than ever ROI is paramount to the client and it is important that we acknowledge and reward this but without losing the essence of Cannes Lions.”
Entries for the new Cannes Creative Effectiveness Lions competition open on 4 November 2010 and close on 4 March 2011. The data of all entries will be checked by the external auditors PricewaterhouseCoopers.
Further information regarding this new category and how to submit entries will be available from 4 November 2010 at www.canneslions.com.
When you work in advertising, your job is to create messages that stand out and make an impact to create brand preferences among consumers. The message is always the same. "Buy me, I'm the best," says the ad.
When you are a creative in advertising, your job is to find new ways of saying this. We are here to sell things, everybody knows that. The aim is to do it with a wink of the eye that says: "hey, I know you know I am trying to flog you something, but look, I found a new way of doing it and you'll think its pretty cool." We’re just a wink factory really.
Today there are dozens of advertising festivals around the world that reward these new ways of saying the same thing, these new forms of rhetoric. With Grand Prix, golds and silvers, these chosen ideas strut the Croisette, the covers of professional magazines and are talked about on blogs. And when we see these campaigns, we say to ourselves that advertising still sparkles and is still able to reinvent itself in different forms and different media, to keep surprising us. It's quite exciting to see all that talent on display. It is an engine and an example not only for those who make the advertisements, but also for those who watch them and who commission them. But just between you and me, it’s more the lion that hides the savannah.
For everything that is being rewarded as the cream of the crop, this "new way" to sell us things is only the very tip of a huge wave, a tsunami of campaigns unfurling on people around the world. One only has to have been on a jury in one of the festivals to realise that what is rewarded only represents maybe 0.00001% of global production. And the rest? Well... to be honest it’s not really all that great, it's not really new. You just have to open a newspaper or turn on a TV to see too many repetitious, clichéd, mindless, condescending messages. It is counter-productive for our industry insofar as consumers become increasingly advertising-averse and our customers more wary of the effectiveness of campaigns.
It’s as if there isn’t one discourse per brand but a single formatted advertising language, a sort of “Esperanto” understood by everyone, a bland, unimaginative language of few words that tells everyone “pay attention, this is advertising, this is how to speak in advertising.”
It was this rather disturbing observation that gave the idea to push this paradox to its limit. Since advertising all too often resembles a mediocre rehashing of things that already exist, why not try to create a machine that would do it in our place?
And so the idea of CAI (Creative Artificial Intelligence) was born – a software robot that immediately and infinitely creates simplistic and non-differentiated advertising. CAI represents nine months of relentless work.
CAI is first and foremost the product of a huge amount of planning work. All possible, imaginable brand promises by product category were compiled. Next, CAI was loaded with thousands of visuals, bits of copy, and dozens of typical page layouts. So when you ask CAI to work, she can randomly generate around 200,000 ads.
Let’s get to the specifics. You type in your category product (e.g Junk Food) and then your product (Pizza). Next you have to choose your target audience, the aim of your campaign (create awareness, launch a product, etc.) and you type in your chosen brand name. Following this, CAI will generate your product pack-shot. CAI will then propose all the possible brand promises associated with your product (in our example – crunchy, genuine, homemade etc.). Once this is done (all in just one minute, exactly), CAI will present you with her copy strategy. If you are happy with it, CAI will begin her creative process (20 seconds) and offer you three possible print ads. Once you have made your choice, you can even see your future campaign in situ. Thank you CAI.
It started out as an intellectual game became more and more alarming as it progressed in the development of our robot. It was expected to create a clumsy, rather grotesque machine that would be systematically way off the mark, in a comical way. Unfortunately, this is not the case. CAI produces something that is a caricature, but that very often by some random diabolical grace, reminds us of an ad we have already seen on a street corner or on the page of a magazine.
CAI creates immediately and quasi-infinitely something that resembles advertising but that fundamentally isn’t, in the sense that it lacks essential qualities: novelty, inventiveness and the unexpected. In short, anything that only a human being is capable of producing. CAI is a fascinating but dangerous machine because it synthesizes the nemesis of our creative profession: standardised or formatted thinking, call it what you want.
In this sense, it is our responsibility to cultivate the differences between our agencies, to encourage our planners and our creatives to always strive to go further, to not be content with regurgitating what has already been seen on the web or elsewhere. This is what creates the value of our thought production. It is what we owe our clients and what they have the absolute right to demand of us.
Such is the true story of CAI, the first and, I hope the last, robot who made advertising.
Special thanks to my team:
Here's some fierce Girlrilla street advertising. Two anonymous French students in their 20s recently donned niqābs and short shorts and strolled through the streets of Paris, making sure to hit several government ministry buildings. The women, one of whom is Muslim, call themselves "Niqabitches."
"We were not looking to attack or degrade the image of Muslim fundamentalists – each to their own – but rather to question politicians who voted for this law that we consider clearly unconstitutional," they said. "We want to de-dramatise the situation."
The French senate passed the law last month. It is due to go into effect early next year. A woman who chooses to defy the ban will receive a fine of 150 euros (£125) or a course of citizenship lessons, according to the Telegraph. A man who forces a woman to go veiled will be fined 30,000 euros and serve a jail term.