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.
Anthimos Xenos in Athens, Greece, produced this animated introduction for the Greek environmental television network, EcoNews. For the 30-second video, Xenos served as art and creative director, motion designer and 3-D animator, and completed the project from start to finish in one month. Music and sound compositing was by Xenakis Lefteris and additional direction by Nikos Tsimouris. In February 2013, Xenos founded his own firm, Darling Creative Motion, in Athens, to focus on TV branding and advertising.
What happens when two branding experts join forces to start a sushi restaurant? Maki-san, that’s what. This one-location, create-your-own sushi place in Singapore looked too well conceived to be a humble local startup. A little online snooping unearthed the fact that Maki-san was started by art director Joseph Koh and copywriter Omar Marks, whose roots trace back to McCann Erickson Singapore. That explained why the brand concept seemed to cover all the essentials — graphic tone of voice, color palette, market positioning, typography, logo, target audience, etc. — indicating that professionals were involved.
Is it possible to brand a thrift store stocked with donated goods and make it a look like a place where you’d want to shop? Goodwill in San Francisco is doing just that by giving its in-store signage, website and fleet of trucks a complete makeover.
Herself Magazine is a bi-annual, all-illustrated fashion publication produced in the UK. Virtually every image shows celebrity “models” (living, dead and animated) wearing high fashion apparel and jewelry by the likes of Valentino, Yves Saint Laurent, Prada, Gucci, Chanel, Boucheron and Faberge. The models’ poses and background settings all look like they were copied from high-end fashion photographs – and maybe they were. Every illustration is drawn by a person named Lula, who identifies herself as editor in chief and creative director, with art direction by Annual. No other staff credits are given.
A very text-light publication, Herself includes fictitious Q-A interviews between Herself and stars including Marilyn Monroe, Coco Chanel, Frida Kahlo, and Susan Sontag. Another article in Issue 2 features Disney fairy tale princesses, including Pocahontas, Cinderella, Belle, and Snow White, modeling contemporary fashions. As concepts go, Herself is intriguing, unique, and surreal.
This video was produced to promote the launch of the TV channel TNT in Belgium. We’d tell you more but don’t want to spoil the tagline. The viral stunt was produced by the Duval Guillame Modem agency, with Geoffrey Hantson as creative director and Koen Mortier as director.
This modified eye chart is more representational than accurate, but, for the most part, it gets the point across. Designed by Salt Lake City-based creative director Gary Sume, this poster for the Utah Highway Safety office advises drivers to watch out for motorcycles.
Morrisons, one of the largest supermarket chains in the UK, recently unveiled its rebranded entry-level “value” line, now bearing the name “M Savers.” The work was done by brand design agency Coley Porter Bell as part of a strategic assessment aimed at transforming Morrisons’ own label into a more coherent brand. With some 17,000 products and their variants in Morrisons’ own brand, positioning different tiers and categories of products was a daunting task.
Morrisons’ entry-level value line presented its own unique challenges. Stephen Bell, creative director at Coley Porter Bell, said that the term “value” had a negative meaning to some consumers. “Value ranges tend to be somewhat utilitarian, using template designs and basic corporate colors. Research shows that consumers are often ashamed to be seen with them. But with the economy stalled for the foreseeable future, value ranges will be competing on more than just price. We wondered why shouldn’t entry-level products have some charm and engagement?”
The World Wildlife Fund, which celebrates its 50th anniversary in 2011, has produced some terrific ads over the years. This is a series that we hadn’t seen, although it was produced by BBH Shanghai in 2008. The ads address the misconception in China that the World Wildlife Fund only protects Giant Pandas that are native to the mountain forests of central China. To raise awareness of WWF’s other conservation activities in the country, this black-and-white print and outdoor ad campaign integrated WWF’s panda logo (and China’s national symbol) into images of antelopes, forests and water.
London publishing house Weidenfeld & Nicolson (W&N) celebrated its 60th anniversary by issuing a specially designed, limited edition run of nine of its best-known titles, including Lolita, The Color Purple, The World According to Garp, and The Reader. To create the covers, W&N bypassed all the best known book designers and turned to of all places an advertising agency – Fallon.
Although not a typical assignment, Fallon embraced the task with enthusiasm. Mark Elwood, creative director of Fallon Design and partner at the agency, says that Fallon saw it as “a great opportunity to showcase the department’s passion for craft and design above and beyond traditional advertising briefs.” Fallon’s entire design department and all of its art directors were put to work on the job. Ultimately they presented 30-40 cover ideas, and W&N chose the concept by senior designer Monica Pirovano.