Tuesday, June 26, 2007
Lion Lager TV ad, 1984 South Africa
Lion Lager ad on SABC-TV, 1984. This beer went from being a white rugby player's beer, to changing its colour scheme to blue, to disappearing completely.
Friday, June 15, 2007
Pearlfisher creates packs for new Absolut vodka
Swedish vodka brand Absolut has unveiled a new range called Absolut 100, with packaging and identity by Pearlfisher.
Developed for the duty free and travel retail market, the vodka’s look uses a minimal, masculine colour palette of semi-opaque black glass, with chrome typography contrasted with grey lettering.
The design aims to convey ‘strength through masculinity and exclusivity’, ensuring that there is no confusion among the flavoured vodkas in the market.
The 100° proof/50 per cent abv spirit is aimed at the discerning, responsible drinking business traveller.
Pearlfisher, which is a long-term strategic design partner for Absolut, was briefed to base the design around strength, and has used the iconic Absolut identity and bottle shape.
‘Absolut 100 is a drink that is not for everyone,’ says Pearlfisher creative partner Jonathan Ford. ‘The concept needed to reflect masculinity and exclusivity, and we were inspired by the contemporary visual language of performance cars and cutting-edge technology.’
Developed for the duty free and travel retail market, the vodka’s look uses a minimal, masculine colour palette of semi-opaque black glass, with chrome typography contrasted with grey lettering.
The design aims to convey ‘strength through masculinity and exclusivity’, ensuring that there is no confusion among the flavoured vodkas in the market.
The 100° proof/50 per cent abv spirit is aimed at the discerning, responsible drinking business traveller.
Pearlfisher, which is a long-term strategic design partner for Absolut, was briefed to base the design around strength, and has used the iconic Absolut identity and bottle shape.
‘Absolut 100 is a drink that is not for everyone,’ says Pearlfisher creative partner Jonathan Ford. ‘The concept needed to reflect masculinity and exclusivity, and we were inspired by the contemporary visual language of performance cars and cutting-edge technology.’
Tuesday, June 12, 2007
What does the London 2012 Olympic logo prove?
There is absolutely nothing wrong with the new London 2012 Olympics logo. However, there is something seriously wrong with the logo-driven branding industry at large. This new logo clearly proves that as we approach 2012, global society will not respond to conventional logos or graphics, but only to these kinds of insignificant, dysfunctional and obscure design works which will eventually become branding norms throughout the world. This clearly proves the lingering demise of the logo-branding industry.
There is an increased numbness of today's global consumers to overly-burdened, noisy advertising. This twisted and created hype, that is often labelled as logo-driven branding exercises, would eventually shut off the minds of future customers.
The release of the London logo, half a decade prior to the 2012 games, has realistically captured the essence and portrayed the future demonstrating the miniscule value of the logo.
Powerful symbols
Let's face it, first of all in this hyper-accelerated society, the logos are almost dead. Fifty years ago, customers remembered the logos of IBM or Chevrolet, which presented uniquely mind grabbing graphical ideas by compressing their images into extremely sharp messages emulating simple vibes via powerful symbols. Not today, pick up your top 10 companies and try to remember their logos and ask yourself if they really have an impact.
With one million new logos a month being invented by the computer savvy, small business armies of ever growing nations like India and China, only the very naïve and the ad industry continues to dream in Technicolor, convinced that customers are memorising the identical circles and lines in twisted colours now called fly-by-night and changed-by-the-day logos. This overly zealous creativity needs to be harnessed as the cut and paste culture and the latest libraries of million logos available for free have shifted the goal posts. This is one of the main reasons where advertising consistently and tragically fails over real marketing of real concepts.
Luckily, the Olympics is the modern world's icon extraordinaire and having personally marketed the 1976 Summer Olympic of Montreal, I have witnessed the power of its name and what awesome global presence it carries.
The London 2012 Games are not at all at the mercy of this new logo, as the ever-unique, powerful and recognisable image of the Five Rings will provide longevity to its ever growing brand. In reality you need graphic overload and out of control logo treatments when your brand name identity has no value. What are the logos of Microsoft, Sony or Panasonic? What graphical techniques do they employ? Most smart corporations prefer powerful word marks, as their powerful, recognisable names stand alone in the rough marketplace and are not at the mercy of overblown graphics going through repeated treatments that are commonly labelled as brand positioning.
Clearly, there are two schools of thought: logo-driven and name identity-driven.
Denial
The principal belief of major global logo-branding agencies that any name can become a super brand is based entirely on bottomless budgets, and if for any reason if it doesn't work, so what? Is this the reason why agencies are so often changed? Denials about the ultimate power of a global 5 Star Standard of Naming will continue to hurt the global ad industry. The other school of thought prophesies the new name-economy, in which name brands, as mature identities, skate on e-commerce from one region to another, amidst a highly mobile society that bears a strong understanding of the potential power behind the successful branding of a powerful name.
As we approach the future, big logo-branding is dying fast while we enter into a cyber-geared culture and a new name-driven economy.
The writer is an expert in corporate image and global cyber-branding. He is also a syndicated columnist and author of Naming for Power.
from www.gulfnews.com
Read also: Change The London 2012 Logo, New London 2012 Brand (video)
There is an increased numbness of today's global consumers to overly-burdened, noisy advertising. This twisted and created hype, that is often labelled as logo-driven branding exercises, would eventually shut off the minds of future customers.
The release of the London logo, half a decade prior to the 2012 games, has realistically captured the essence and portrayed the future demonstrating the miniscule value of the logo.
Powerful symbols
Let's face it, first of all in this hyper-accelerated society, the logos are almost dead. Fifty years ago, customers remembered the logos of IBM or Chevrolet, which presented uniquely mind grabbing graphical ideas by compressing their images into extremely sharp messages emulating simple vibes via powerful symbols. Not today, pick up your top 10 companies and try to remember their logos and ask yourself if they really have an impact.
With one million new logos a month being invented by the computer savvy, small business armies of ever growing nations like India and China, only the very naïve and the ad industry continues to dream in Technicolor, convinced that customers are memorising the identical circles and lines in twisted colours now called fly-by-night and changed-by-the-day logos. This overly zealous creativity needs to be harnessed as the cut and paste culture and the latest libraries of million logos available for free have shifted the goal posts. This is one of the main reasons where advertising consistently and tragically fails over real marketing of real concepts.
Luckily, the Olympics is the modern world's icon extraordinaire and having personally marketed the 1976 Summer Olympic of Montreal, I have witnessed the power of its name and what awesome global presence it carries.
The London 2012 Games are not at all at the mercy of this new logo, as the ever-unique, powerful and recognisable image of the Five Rings will provide longevity to its ever growing brand. In reality you need graphic overload and out of control logo treatments when your brand name identity has no value. What are the logos of Microsoft, Sony or Panasonic? What graphical techniques do they employ? Most smart corporations prefer powerful word marks, as their powerful, recognisable names stand alone in the rough marketplace and are not at the mercy of overblown graphics going through repeated treatments that are commonly labelled as brand positioning.
Clearly, there are two schools of thought: logo-driven and name identity-driven.
Denial
The principal belief of major global logo-branding agencies that any name can become a super brand is based entirely on bottomless budgets, and if for any reason if it doesn't work, so what? Is this the reason why agencies are so often changed? Denials about the ultimate power of a global 5 Star Standard of Naming will continue to hurt the global ad industry. The other school of thought prophesies the new name-economy, in which name brands, as mature identities, skate on e-commerce from one region to another, amidst a highly mobile society that bears a strong understanding of the potential power behind the successful branding of a powerful name.
As we approach the future, big logo-branding is dying fast while we enter into a cyber-geared culture and a new name-driven economy.
The writer is an expert in corporate image and global cyber-branding. He is also a syndicated columnist and author of Naming for Power.
from www.gulfnews.com
Read also: Change The London 2012 Logo, New London 2012 Brand (video)
Controversial 2012 Olympic logo 'will stay'
Culture Secretary Tessa Jowell insisted today that the controversial new 2012 logo will stay, as inspectors began a three-day examination of London's plans for the Olympic Games.
Ms Jowell admitted the graffiti-style logo had caused a "storm" after it was unveiled last week but said it was "adaptable" and could be used in a "variety of different contexts".
"The logo will be the logo for the Olympic Games," she told BBC Breakfast.
"One thing you can say for this logo is that it has got people talking. It has got people talking about the Olympics, it has got people talking about what they like and what they don't like."
Her remarks were made as the 16-strong International Olympic Committee co-ordination commission was due to be updated on the progress of London's plans since the last official visit in April last year.
Asked whether the logo was worth its £400,000 fee, Ms Jowell said: "I think it was, yes."
She added: "Call me unusual, but I think it's terrific."
Ms Jowell insisted that planning and development for the Olympics was "on time".
Speaking on the BBC Radio 4 Today programme, she said the Olympic Delivery Authority would announce this week that tunnelling under the site is complete.
This would allow overhead cables to be taken down and the next stage of the development to get under way.
Read also: Change The London 2012 Logo
New London 2012 Brand (video)
Ms Jowell admitted the graffiti-style logo had caused a "storm" after it was unveiled last week but said it was "adaptable" and could be used in a "variety of different contexts".
"The logo will be the logo for the Olympic Games," she told BBC Breakfast.
"One thing you can say for this logo is that it has got people talking. It has got people talking about the Olympics, it has got people talking about what they like and what they don't like."
Her remarks were made as the 16-strong International Olympic Committee co-ordination commission was due to be updated on the progress of London's plans since the last official visit in April last year.
Asked whether the logo was worth its £400,000 fee, Ms Jowell said: "I think it was, yes."
She added: "Call me unusual, but I think it's terrific."
Ms Jowell insisted that planning and development for the Olympics was "on time".
Speaking on the BBC Radio 4 Today programme, she said the Olympic Delivery Authority would announce this week that tunnelling under the site is complete.
This would allow overhead cables to be taken down and the next stage of the development to get under way.
Read also: Change The London 2012 Logo
New London 2012 Brand (video)
Transform your summer from BBDO (video)
Agency: BBDO — New York
Chief Creative Officer: David Lubars, Bill Bruce
CD/Copywriter: Brian Donovan
CD/Art Director: Mike Boulia
Agency Executive Producer: Amy Wertheimer
Production Company: The Institute
Director: Michael Bay
Editor: Tom Muldoon
VFX: Digital Domain
Mixer: Tom Jucarone
Agency Assistant Producer: Theresa Ward
Editorial House: Nomad Editing Company, Inc. — Santa Monica
Monday, June 11, 2007
Coca-Cola - Endless Summer
Client:
Coca-Cola
Agency:
Singleton Ogilvy & Maher
Creative Director:
Octavio de Lellis
Designer:
Jeremy Dower
Production Company:
Monkey Lab - Sydney
Director:
Octavio de Lellis
Producer:
Mark Jackson
Smirnoff - Signature
Client:Smirnoff
Agency:JWT - New York
Chief Creative Officer:Ty Montague
Executive Creative Director:Jeremy Postaer
CD/Art Director:Damian Totman
Copywriter:Matt MacDonald
Production Company:Paranoid US
Director:Edouard Salier
Executive Producer:Phillip Detchmendy
Producer:Anne Lifshitz
Visual Effects:Def 2 Shoot
Sound Design:750 MPH
Music Company:Visual Music
Composer:Bear McReary
Director of Production:Nick Setounski
Sound Design/Audio Engineer:Gary Walker
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