Moms Demand Action, a gun-control group backed by former New York City mayor Michael Bloomberg, has launched an advertising campaign asking retail chains to refuse service to shoppers who openly carry assault rifles into their establishments. In response to retailer claims that doing that would violate their customers’ civil liberties, the ads point out that retailers have had no qualms about enforcing a ban on shirtless shoppers, eating ice cream cones and skateboarding. This series of ads targets Kroger, the largest grocery chain in the U.S. So far, nearly a half dozen national restaurants and stores have reversed course in response to Moms Demand Action advertising and publicity campaign. No word yet from Kroger.
Those of us who are concerned about climate change finally have a slogan and graphic identity to rally around, thanks to design legend Milton Glaser.
The campaign’s slogan — “It’s Not Warming, It’s Dying” — doesn’t mince words about what’s ultimately at stake for the earth if we don’t get a grip on global warming. Done in conjunction with New York’s School of Visual Arts (SVA), where Glaser is acting chairman and a faculty member, the campaign aims to spark action on climate change through the distribution of lapel buttons featuring a graphic symbol, designed by Glaser. The logo represents the earth as seen from outer space, with the lush green disappearing into an ominous black. To reinforce the sense of a dying planet, the green swath is printed in ghostly glow-in-the-dark ink. Like his iconic “I (heart) NY” image, Glaser’s climate change logo is powerful in its directness and simplicity.
SVA is spearheading this social awareness campaign by offering Glaser’s dying planet logo as a lapel button ($5 for 5 buttons) so wearers can visibly express their concern for the planet. Up until now, the global warming deniers have been the most vocal in expressing their views, while those who believe that the climate is changing have mostly relied on scientific papers, panels of experts citing data, and Power Point-laden documentaries (a la Al Gore) to present their reasoned arguments. It’s time to be seen. If enough people around the world are seen wearing Glaser’s button, politicians and policymakers cannot easily dismiss these constituents as a minority of alarmists.
Take my word for it, my farming credentials are impeccable. I’ve grown up around commercial fruit and vegetable farmers my entire life, and I know that the tasty, tree/vine-ripened, organically safe stuff rarely make it onto the supermarket shelf because retailers want their produce uniform in size, unblemished and picked firm and barely ripe so they won’t spoil before sold. As a result, mega-tons of fruits and vegetables are rejected for purely cosmetic reasons. Millions of people are suffering from malnutrition and billions of dollars of food are tossed out because they don’t rise to the aesthetic standards of clueless urbanites who believe that beauty trumps taste. What’s equally sad is that many city-dwellers don’t know how a real tree-ripened apricot, peach or cherry should taste. Shame!
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When Johnnie Walker signed onto the Join the Pact initiative to promote responsible drinking, the whisky maker did more than lend its name to the campaign; it gave an impactful demonstration of what might happen when you drink and drive.
Marketing agency APAC Iris Singapore worked with Johnnie Walker to create this 90-second public service spot. The agency took advantage of the fact that Johnnie Walker has been a long-time sponsor of the Vodafone McLaren Mercedes Formula One racecar team, and proposed building a CGI model of a Formula One car out of 1,750 Johnnie Walker whisky glasses. The project, headed by Iris regional creative director Grant Hunter and film/3D director Russell Appleford, proved to be an arduous task. Just the crash scene alone required more than 100 gigabytes of data. Two-time world drivers’ champion Mika Häkkinen, Johnnie Walker’s responsible drinking ambassador, was brought in to give the voiceover message authority, advising, “Staying in control is what matters in racing. Split-second decisions are the difference between finishing first and finishing last – or not finishing at all.” For a liquor company, this approach is bold and civic minded. It addresses the potential danger of their product directly and doesn’t try to slip in a self-serving “buy more whisky and party hearty” plug.
Corona Canada is going all out to celebrate the Day of the Dead (Dias de los Muertos), an annual Mexican holiday (November 1 and 2) commemorating the lives of loved ones who have passed away. It has just issued special limited edition designs for its tall-boy cans, further extending its “Live Mas Fina” (Live the good life) campaign launched in March. Toronto-based design agency, Zulu Alpha Kilo, created the concept and design for the marketing promotion, which features artwork inspired by Day of the Dead sugar skull candy treats. Illustrated by Jenny Luong, the decorative skull artwork integrates a line of text that urges people to live life to the fullest.
The Canadian Day of the Dead campaign encompasses more than special packaging. Zulu is promoting the Day of the Dead design in out-of-home and print ads, magazine inserts and on social media. In addition to giving out tear-away posters at select locations across Canada, Corona is staging a social media contest that offers fans the chance to win a numbered, limited edition silkscreened print of the sugar skull posters. The Day of the Dead Corona cans are available in stores across Canada for one month only.