Cannes Lions 2009 - Золотые призеры в номинации Design Lions
HAVAIANAS IDENTITY
Type of Entry:
Corporate or Brand Identity
Category:
Corporate Identity Schemes - Large scale
Title:
HAVAIANAS IDENTITY
Advertiser/Client:
SГ?O PAULO ALPARGATAS
Product/Service:
HAVAIANAS FOOTWEAR
Entrant Company:
ALMAPBBDO SГ?o Paulo, BRAZIL
Design/Advertising Agency:
ALMAPBBDO SГ?o Paulo, BRAZIL
Creative Credits
Name
Company
Position
Marcello Serpa
Almapbbdo
Executive Creative Director
Marcus Sulzbacher
Almapbbdo
Creative Director
Marcello Serpa
Almapbbdo
Creative Director
Marcos Kotlhar
Almapbbdo
Art Director
Marcello Serpa
Almapbbdo
Art Director
Bruno Prosperi
Almapbbdo
Art Director
Danilo Siqueira
Almapbbdo
Art Director
Sergio Mugnaini
Almapbbdo
Art Director
Danilo Boer
Almapbbdo
Art Director
Adhemas Batista
Almapbbdo
Art Director
JoГ?o Lineu
Almapbbdo
Art Director
Renato Fernandez
Almapbbdo
Art Director
Marcus Sulzbacher
Almapbbdo
Art Director
JosГc Roberto Bezerra
Almapbbdo
Typographer
Brief Explanation:
The major diversity of pieces, including or not the places where they were published, has a unique image which valorizes the product and builds a colourful, fun, and simple universe that has become the brand's owner.
Describe the brief from the client:
The challenge was to create a new and big campaign, which would put all that Havaianas has got of the best products together, to cause a positive impression in its consumers.
Description of how you arrived at the final design:
This is a set of jobs that were executed in the last 12 months to the brand Havaianas, which has resulted in this Design Case. They are executions in different ways and medias that were exposed in Europe, USA and especially in Brazil.
Indication of how successful the outcome was in the market:
The success is proved by the high measure of relationship of the brand with its consumer, making the product be not only a rubber sandal to be a part of Havaianas. It's a symbol of the Brazilian spirit, which is translated from Havaianas through its colourful, simplicity, optimism, happiness and good mood.
VINE
Type of Entry:
Corporate or Brand Identity
Category:
Corporate Identity Schemes - Large scale
Title:
VINE
Advertiser/Client:
NOKIA
Product/Service:
CELL PHONE
Entrant Company:
R/GA New York, USA
Design/Advertising Agency:
R/GA New York, USA
Creative Credits
Name
Company
Position
James Temple
R/Ga London
Executive Creative Director
Marc Shillum
R/Ga
Director Of Branding
Nathalie Huni
R/Ga London
Associate Creative Director
Virgilio Santos
R/Ga
Design Director
Neil Starr
R/Ga London
Senior Copywriter
Ennio Franco
R/Ga London
Visual Designer
Carla Echevarria
R/Ga
Creative Director
Kathrin Hoffmann
R/Ga London
Senior Interaction Designer
Ben Doran
R/Ga London
Flash Developer
Rasmus Knutsson
R/Ga London
Junior Visual Designer
Kevin Sutherland
R/Ga London
Techncal Director
Nicolas Le Pallec
R/Ga London
Flash Developer
Michael Potts
R/Ga London
Presentation Code Developer
Darren Savage
R/Ga London
Planning Director
Tomas Vorobjov
R/Ga London
Flash Developer
Neil Duggan
R/Ga London
Quality Assurance Engineer
Claudia Bernett
R/Ga
Interaction Design Director
Anthony Wickham
R/Ga London
Group Account Director
Dylan Connerton
R/Ga London
Senior Producer
Krystal-Joy Williams
R/Ga London
Associate Producer
Brief Explanation:
The challenge was to intuit a brand language from the consumer's behaviour, while fitting it naturally to the Nokia family. We developed a visual language that was not only elegant and brand appropriate, but that was inseparable from the functionality of the interface. Nokia viNe is the first time the brand design serves as both the identity and interface of the application. In the grand tradition of design, we wanted to create something that was both useful and beautiful. The ultimate objective was to craft a design that was iconic, where the functionality is intuitive and engaging for the user.
Describe the brief from the client:
To help Nokia establish the Nseries brand as an indispensible utility for consumers that allows them to record and share their life experiencesв?"from photos and videos, to music and text messagingв?"all geo-tagged to their paths in life.
Description of how you arrived at the final design:
We designed from the bottom up, first understanding the behaviour of the user, then creating a visual language that seamlessly combines the naming, brand design, interface and functionality. The daily trails people make on maps are vines. The multimedia they use throughout their day are the leaves. This functional metaphor has the emotional connotations for a useable, intuitive interface. The brand design becomes the experience itself.
Indication of how successful the outcome was in the market:
The results of word of mouth exposure and organic search results; no media drives the viNe campaign. And yet, from November 11, 2008, when viNe launched, through January 12, 2009 there have been:
- 6,464 viNe application downloads
- 884 viNe widgets embedded in websites
- 4,533 registrations to the viNe website
- 1,093,710 page views of Nokiaв?Ts viNe site
- 151,563 visits to the viNe site в?"146,076 unique visits daily
- 7,572 viNe embedded widget events
.
JAMIE OLIVER RECIPEASE FOOD KITS
Type of Entry:
Corporate or Brand Identity
Category:
Corporate Identity Schemes - Small scale
Title:
JAMIE OLIVER RECIPEASE FOOD KITS
Advertiser/Client:
JAMIE OLIVER
Product/Service:
RETAIL STORE
Entrant Company:
WILLIAMS MURRAY HAMM London, UNITED KINGDOM
Design/Advertising Agency:
WILLIAMS MURRAY HAMM London, UNITED KINGDOM
Creative Credits
Name
Company
Position
Garrick Hamm
Williams Murray Hamm
Creative Director
Fiona Curran
Williams Murray Hamm
Design Director
Sam Lachlan
Williams Murray Hamm
Designer
Fiona Curran
Williams Murray Hamm
Typographer
Fiona Curran
Williams Murray Hamm
Illustrator
Sam Lachlan
Williams Murray Hamm
Illustrator
Vanessa Wright
Williams Murray Hamm
Illustrator
Panna Patel
Williams Murray Hamm
Client Services Director
Brief Explanation:
Solution: We communicated the sense of в??meal assemblyв?? through the simple idea of an airfix kit. The illustrations, and their various combinations, create witty language that talks about good food and ease of cooking.
Target audience: в??Food explorersв?T; people who are either at the beginning of their journey with food and cooking or those who want to experience and make better food choices.
Describe the brief from the client:
Brief: To create a new retail concept to get customers excited and involved in food preparation and cooking by learning how to put meals together on site, building a growing passion for food.
Description of how you arrived at the final design:
Solution: We communicated the sense of в??meal assemblyв?? through the simple idea of an airfix kit. The illustrations, and their various combinations, create witty language that talks about good food and ease of cooking.
Indication of how successful the outcome was in the market:
Exceeded all launch target revenues.
OFFICE GAMES
Type of Entry:
Corporate or Brand Identity
Category:
Corporate Identity Schemes - Small scale
Title:
OFFICE GAMES
Advertiser/Client:
RICHARD HOUSE
Product/Service:
CHILDREN'S HOSPICE CHARITY
Entrant Company:
THE PARTNERS London, UNITED KINGDOM
Design/Advertising Agency:
THE PARTNERS London, UNITED KINGDOM
Creative Credits
Name
Company
Position
Jack Renwick
The Partners
Creative Director
Alex Woolley
The Partners
Designer
Samuel Hall
The Partners
Designer
Neil Southwell
The Partners
Designer
Brief Explanation:
They didnв?Tt want it to appear too в??charity-likeв?? and overtly guilt people into taking part, they wanted the focus to be on the fun and enjoyment of the event.
Describe the brief from the client:
Richard House needed a logo and visual language that would excite people for the fundraisers pilot year and lay the foundations for a strong identity for future events.
Description of how you arrived at the final design:
The humble paperclip became the heart of the identity, creating the main running track logo and a set of icons depicting each sporting event. Marketing communications included banners, flyers, animations, posters and T-shirts.
Bold use of the core red gave us a cost effective way of achieving maximum impact.
Indication of how successful the outcome was in the market:
Teams from across the City took part in the Office Games 2008 at Broadgate Arena on July 25th. The sun shone, the audience applauded and the teams of 4 rose to the challenge of the unique events. A fantastic amount was raised for Richard House Children's Hospice.
CHEAPER THAN PAPER
Type of Entry:
Corporate or Brand Identity
Category:
Posters
Title:
CHEAPER THAN PAPER
Advertiser/Client:
THE ZIMBABWEAN
Product/Service:
THEZIMBABWEAN NEWSPAPER, THEZIMBABWEAN.CO.UK
Entrant Company:
TBWA\HUNT\LASCARIS JOHANNESBURG, SOUTH AFRICA
Design/Advertising Agency:
TBWA\HUNT\LASCARIS JOHANNESBURG, SOUTH AFRICA
Creative Credits
Name
Company
Position
Damon Stapleton
Tbwa
Executive Creative Director
Nicholas Hulley
Tbwa
Creative Director
Raphael Basckin
Tbwa
Copywriter
Nicholas Hulley
Tbwa
Copywriter
Shelley Smoller
Tbwa
Art Director
Nadja Lossgott
Tbwa
Art Director
Brief Explanation:
Having been driven into exile and saddled with a massive duty, our client had a limited budget but a need for their message to break through the reams and reams of coverage on Zimbabwe.
Describe the brief from the client:
Our client, The Zimbabwean newspaper, has been driven into exile for reporting on how the Mugabe regime has rigged elections, crushed the opposition, caused poverty, disease and the total collapse of the economy. And now, having been exiled, the regime has slapped a 55% luxury import duty on the paper (as if freedom of speech is a luxury) that makes it unaffordable for the average Zimbabwean. To get the paper into Zimbabwean hands, it needs to be subsidised, and our client can only do that by raising awareness and driving sales outside Zimbabwe.
Description of how you arrived at the final design:
We developed a unique solution. One of the most eloquent symbols of Zimbabweв?Ts collapse is the Z$ trillion dollar note, a symptom of their world record inflation. This money cannot buy anything, not a loaf of bread and certainly not any advertising. But it can become the advertising. So, we turned the money into its own medium by printing our messages straight onto it. By sticking notes together we created posters and then we silk-screened our message straight onto the money.
Indication of how successful the outcome was in the market:
Overnight, trillions of dollars of Zimbabwean banknotes achieved what theyв?Td never been able to buy в?" real and meaningful advertising coverage. Within days we were in the national press on national television and radio. Then the internet discovered it and it spread across the world. As the campaign continues, sales of The Zimbabwean continue to soar. In the week of the roll-out alone, the website logged over 2 million hits. More copies of The Zimbabwean than ever are crossing the border into Zimbabwe.
We used Mugabeв?Ts own creation against him.
ONION CALENDAR
Type of Entry:
Corporate or Brand Identity
Category:
Calendars
Title:
ONION CALENDAR
Advertiser/Client:
WГ?STHOF
Product/Service:
KNIVES
Entrant Company:
SERVICEPLAN Munich, GERMANY
Design/Advertising Agency:
SERVICEPLAN Munich, GERMANY
Creative Credits
Name
Company
Position
Alex Schill
Chief Creative Officer/Executive Creative Director
Helmut Huber/Florian Drahorad
Creative Directors
Nicolas Becker
Copywriter
Christian Sommer/Ivo Hlavac
Art Directors
Lena Inderwiesen
Account Supervisor
Layoutsatz 2000
Photography
Pinsker Druck Und Medien Gmbh
Production Company
Matthias Harbeck
Chief Creative Officer
Brief Explanation:
A calendar is not a pretty new medium.
WГ?sthof produce cooking knifes. So the question was, how to show the quality of the sharp-edged knifes, every day, 365-days long.
We knew a typical calendar just showing beautiful things wouldnв?Tt do the job.
Describe the brief from the client:
WГ?sthof is a famous German knife manufacturer with really sharp-edged knifes.
They asked us to create a calendar for their most important retailers.
And of course, "please highlight the product".
Description of how you arrived at the final design:
We thought about the most common thing which is cut in kitchens all over the world. The answer was: onions.
After that, the question came: is it possible to cut an onion into 365 slices? A little slice for everyday?
Of course it was. With sharp-edged knifes from WГ?sthof.
So we cut one onion into 365 slices.
Indication of how successful the outcome was in the market:
200 calendars were produced and sent out to big retailers.
The feedback was a bit more then a "thank you". After many requests we had to double the production up to 400 pieces.
The new knife collection has nearly sold out, and 2009 is expected to be the best in WГ?sthoff's 195 year history.
THE ALPINA WALL CALENDAR 2009
Type of Entry:
Corporate or Brand Identity
Category:
Calendars
Title:
THE ALPINA WALL CALENDAR 2009
Advertiser/Client:
ALPINA FARBEN
Product/Service:
ALPINA PAINT
Entrant Company:
SCHOLZ & FRIENDS HAMBURG, GERMANY
Design/Advertising Agency:
SCHOLZ & FRIENDS HAMBURG, GERMANY
Creative Credits
Name
Company
Position
Stefan Setzkorn
Scholz/Friends
Executive Creative Director
Matthias Schmidt
Scholz/Friends
Executive Creative Director
Dennis Lueck
Scholz/Friends
Creative Director
Suze Barrett
Scholz/Friends
Creative Director
Marco Lidzba
Scholz/Friends
Art Director
Michael Toennis
Scholz/Friends
Copywriter
Florian Kienle
Scholz/Friends
Account Manager
Metagate Gmbh/Hamburg
Postproduction
Brief Explanation:
The main challenge was to find a solution that could also serve as an in-store display and would create a buzz around Alpina wall paint.
Describe the brief from the client:
Alpina is a leading paint manufacturer in Germany. The brief was to develop an advertising medium to communicate the в??Colour of the Monthв?? marketing concept to important tradespeople (hardware stores, paint stores, furniture stores).
Description of how you arrived at the final design:
The idea was to create the worldв?Ts biggest calendar. Each month has the в??Colour of the Monthв?? printed on a 3m x 2m calendar page clearly showing just how great a newly-painted wall would look. By doing this the calendar also doubled as an interesting piece of graphic design. It was displayed in furniture stores and many building supply stores at the Alpina point-of-sale as well as in selected art galleries.
Indication of how successful the outcome was in the market:
The unusual dimensions (3m wide by 2m high) and the eye-catching display have resulted in the calendar quickly becoming a hot topic of conversation. So far it has been received exceptionally well by retailers and customers alike and Alpina has also obtained many requests for copies of the calendar.
PIGLET
Type of Entry:
Corporate or Brand Identity
Category:
Publications
Title:
PIGLET
Advertiser/Client:
AGENCIA REGIONAL DE RECAUDACION
Product/Service:
REGIONAL TAX COLLECTION AGENCY
Entrant Company:
F33 Murcia, SPAIN
Design/Advertising Agency:
F33 Murcia, SPAIN
Brief Explanation:
Our biggest challenge was to create an attractive book that deals with
numerous charts, graphs and technical information all related to one issue,
money. The objective was to give the content of the book an attractive and
playful look, where the information is read easily and the viewer does not
feel overwhelmed with data.
Describe the brief from the client:
The "Agencia Regional de RecaudaciГ?n" is a small part of the Treasury office of Murcia. The Treasury office deals with contributors money, and at the end of each year needs to make its accounts public.
They needed a small book that complied all there accounts, and at the same time captivated people to read it.
Description of how you arrived at the final design:
In Spain we are in a crucial moment of economical crisis, hence our concept was "SAVE" which lead to the classic PIGGY BANK icon.
We created our very own piggy bank where the book was concealed inside.
This meant that our target audience had to break open the piggy bank to see the book and hence see how the year had turned out money wise.
Indication of how successful the outcome was in the market:
The initial reaction was of surprise and nostalgia. In a market place so specialized, the piggy bank was able to transmit its
content in a friendly manner where normally the issue of money tends to be
of a serious nature.
The books primary goal is to be read and our concept, right through to
production, greatly enhanced the books ability to communicate with its target
audience.
COMING MOON
Type of Entry:
Corporate or Brand Identity
Category:
Publications
Title:
COMING MOON
Advertiser/Client:
MITSUBISHI ESTATE CO & IDEE CO
Product/Service:
HAIKU EVENT
Entrant Company:
DENTSU KANSAI Osaka, JAPAN
Design/Advertising Agency:
DENTSU KANSAI Osaka, JAPAN
Creative Credits
Name
Company
Position
Yoshihiro Yagi
Dentsu Kansai
Art Director
Yoshihiro Yagi
Dentsu Kansai
Designer
Haruko Tsutsui
Dentsu
Copywriter
Yo Kimura
Katachi Co.
Designer
Chie Ichida
Katachi Co.
Illustrator
Nao Morimi
Silkscreen Print
Takeshi Arimoto
Style Printing Co.
Printing Producer
Brief Explanation:
Young Japanese people are not that interested in traditional Japanese culture such as в??Moon viewingв??. Therefore we focused more on the familiar side of it. The в??Moon viewingв?? is a traditional event that takes place in Japan every year around mid-September, when the moon looks most beautiful.
Describe the brief from the client:
We aim to increase the number of participants in the event and make a good impression on the event.
Description of how you arrived at the final design:
This contains images and stories associated with the moon, to make the readers feel as if they are в??Moon viewingв??. A dot, used to resemble the moon, is featured in every page. The booklet contains в??Wolfman,в?? who turns into a wolf on the night of the full moon; в??Kaguya-himeв?? (Moon Princess), an old Japanese fairy tale; and the в??The Space Rabbitв??.
Indication of how successful the outcome was in the market:
Although initially intended as a one-off, it was decided to make the event quarterly due to the very positive response. The book of haiku composed by the party organizer also sold very well.
BUICK STYLE GUIDE
Type of Entry:
Corporate or Brand Identity
Category:
Publications
Title:
BUICK STYLE GUIDE
Advertiser/Client:
GENERAL MOTORS
Product/Service:
BUICK
Entrant Company:
LEO BURNETT USA Chicago, USA
Design/Advertising Agency:
LEO BURNETT USA Chicago, USA
Creative Credits
Name
Company
Position
Mark Tutssel
Leo Burnett
Global Chief Creative Officer
John Condon
Leo Burnett
Chief Creative Officer
Dave Loew
Leo Burnett
Creative Director/Copywriter
Jon Wyville
Leo Burnett
Creative Director/Copywriter
Rainer Schmidt
Leo Burnett
Art Director
Chris Von Ende
Leo Burnett
Art Director
Brief Explanation:
Graphic standards sent by lead agencies are often ignored. We needed a concept to grab people's attention, hence the typo on the cover. Throughout the style guide, we used "inside" designer humor to keep them engaged.
Describe the brief from the client:
Before we won the account, the look of Buick's advertising and marketing materials was inconsistent, using a cacophony of different typefaces, design cues, colors, and photographic styles.
Our goal was to create a unified, cohesive and well-crafted look for Buick across all consumer touch points -- retail, online, print and television advertising, websites, brochures and catalogs, direct mail.
Description of how you arrived at the final design:
The style guide was inspired by the color palette and design cues of an upscale spa. The style guide uses two primary typefaces - one modern, one classic в?" to evoke a "refreshingly reminiscent" design style.
Indication of how successful the outcome was in the market:
The Buick Style Guide launched in June 2008 and mailed to Buick agencies in Detroit, New York, Boston and Dallas-Ft. Worth. The guides were distributed in person at several cross-agency design standard meetings. The look of Buick communication materials has become much more consistent, which has helped strengthen the brand in difficult economic times.
SKIMMER
Type of Entry:
Corporate or Brand Identity
Category:
Self Promotion
Title:
SKIMMER
Advertiser/Client:
FALLON
Product/Service:
ADVERTISING AGENCY
Entrant Company:
FALLON WORLDWIDE Minneapolis, USA
Design/Advertising Agency:
FALLON WORLDWIDE Minneapolis, USA
Creative Credits
Name
Company
Position
Albert Kelly
Fallon
Executive Creative Director
Chris Wiggins
Fallon
Creative Director
Andy Gugel
Lead Designer
David Schwen
Fallon
Associate Design Director
Vic Palumbo
Fallon
Director of Integrated Production
Brenda Fogg
Fallon
Interactive Producer
Sierra Bravo
Development Partner
Brief Explanation:
Fallon isnв?Tt a software development company, but we are a creativity and design-focused company that cares about providing value and a great experience. We took an approach counter to the typical Web 2.0 в??undesignв?? by putting user experience over function, while still solving for functionality. Design has been considered superfluous to social media services, and application development has come to rely on automatic and customary user testing that results in design by committee. We believe that this approach effectively neutralizes what could otherwise be great product offerings, and we knew we could do better by focusing on design and experience.
Describe the brief from the client:
With the runaway success of so many social media services, the way people communicate is evolving. Fallon saw an opportunity to broaden the evolution of modern social media interaction, while establishing our own brand as a forward thinker in social and digital media. We wanted to demonstrate to our clients and the world that in order to succeed today, brands should not just communicate; they should provide value to the consumer: entertainment, social, and brand value. That's being generous, and that's an example of a brand learning to give as much as it takes. And so, we created Skimmer.
Description of how you arrived at the final design:
We believe design is fundamental to usability and experience, and this idea determined every step of the project development process, from design to featureset definition and development.
Indication of how successful the outcome was in the market:
Skimmer received over 10,000 unique users in less than one week, over 35 million press impressions and counting, and positive feedback and thanks from many hundreds of grateful users. The estimated number of people reached to date as a result of our PR activities is over 35 million. This includes traditional and online press, as well as extended social media and digital viral word of mouth from blog and Twitter activity. Our goal of 10,000 users within one month was metв?"and exceededв?"in less than one week, and at this writing our count is over twice that original goal.
MULTI-MEDIA COKE MACHINE
Type of Entry:
Corporate or Brand Identity
Category:
Point of Sale
Title:
MULTI-MEDIA COKE MACHINE
Advertiser/Client:
THE COCA-COLA COMPANY
Product/Service:
COCA-COLA
Entrant Company:
SAPIENT INTERACTIVE Miami, USA
Design/Advertising Agency:
SAPIENT INTERACTIVE Miami, USA
Creative Credits
Name
Company
Position
Casey Sheehan
Sapient Interactive
Associate Creative Director
Jon Jackson
Sapient Interactive
Associate Creative Director
Mike Hansen
Sapient Interactive
Senior Art Director
Marc Van Norden
Sapient Interactive
Senior Manager Interactive Development
Jeremy Conescu
Sapient Interactive
Manager Interactive Development
Anthony Yell
Sapient Interactive
Vice President/Creative Director
Graham Engebretsen
Sapient Interactive
Account Manager
Michael Leonard
Sapient Interactive
Account Director
Brief Explanation:
Coca-Cola wanted to change how consumers interact with vending machines, by finding new ways to foster the connection between the consumer and the brand. The main challenges included incorporating advertising and vending in a manner that consumers found both compelling and easy to use, creating a visual language to navigate the user experience in the same time as traditional vending machines, and creating an experience that immerses users in the Coca-Cola brands in new, exciting, and interactive ways. The goal was to wow consumers with a unique platform that boosts sales while leveraging ad revenue through compelling, interactive placement.
Describe the brief from the client:
Coca-Colaв?Ts innovation group wanted to revolutionize the vending experience by integrating a 46в??LCD touch screen into the front of a standard vending machine. The machine was to explore the possibilities of advertising, be an interactive display of technology, and create an immersive brand experience, all while vending beverages to consumers in a quick and user-friendly fashion.
Description of how you arrived at the final design:
The final design is based on simplicity and utilizes strong visual cues to quickly draw the consumersв?T attention to the two to three options they have on each interactive screen. The design focuses the user on a core engagement screen and drives all functionality off of this main touch interface. Both advertising and products are displayed on this main screen; however the clean design divides the interface into distinct sections to avoid consumer confusion. Finally, the use of 3-D and motion graphics on the individual product screens immerses the users in the Coca-Cola brands and illustrates the capabilities of the new Multi-Media vending machine.
Indication of how successful the outcome was in the market:
The first Multi-Media vending platform was taken to the Beijing Olympics in 2008. It then toured through Simon Malls on the D-Tour where lines of curious consumers formed to experience the new, interactive technology. The second Multi-Media vending platform was publicly debuted at the Consumer Electronics show where lines wrapped around the exhibit and bloggers and analysts conducted interviews, many of which are now posted on youtube and several top technology websites. In usability testing, the interface design resulted in quick adoption, demonstrating the success of the combined navigation and visual system on the touch platform.
In one of the Brand's most valuable locations for reaching teens, malls, we have secured advertising presence at an efficiency rate of over 3X. Over the next 5 years it will provide millions of dollars of incremental marketing value to our teen marketing efforts.
Vending machines are the number two connection point for reaching consumers with the Coke brand (behind products on the shelf). Traditional machines score high on visibility but low on image. This machine is increasingly visible, with significantly higher image scores.
Among under 25 year olds, our score for "Hip and Contemporary" went from a 10% rating for traditional vending machines to 79% with the Multi-Media Coke Machine. Based on a 2008 Ipsos vending study.
NICK IDENTS
Type of Entry:
Corporate or Brand Identity
Category:
Broadcast Design & Graphics
Title:
NICK IDENTS
Advertiser/Client:
MTV NETWORKS GERMANY
Product/Service:
NICK GERMANY
Entrant Company:
dyrdee Media Berlin, GERMANY
Design/Advertising Agency:
dyrdee Media Berlin, GERMANY
Creative Credits
Name
Company
Position
Ljubisa Djukic
Dyrdee Media
Creative Director
Ole Keune
Dyrdee Media
Creative Director
Bettina Volgel
Nick Germany (mtv Networks Germany Gmbh)
Creative Director
Lucas Zanotto
Lutas.it
Art Director
Sven Henrichs
Dyrdee Media
Production Manager
Mesut Can
Dyrdee Media
Technical Support
Daniel Griese
Schieffer/Schieffer
Sound Designer
Brief Explanation:
We wanted to create a spot that incorporated the Nick Corporate identity without feeling forced. We also wanted something with an analogue look which related to the every day life of the kids. With that in mind, the idea to put realistic orange objects in the focus of each spot was born.
To build a story around convincing orange objects was a challenge but once that was achieved the other two Nick colours, white and green, worked into the design naturally. This helped to give the spots a unique style while maintaining the brand.
Describe the brief from the client:
We developed the first Nick Ident, "The Dog" as a speculative project. Nick was very excited when we presented the spot and they quickly ordered 10 spots in the same style.
Description of how you arrived at the final design:
We wanted to create a spot that incorporated the Nick Corporate identity without feeling forced. We also wanted something with an analogue look which related to the every day life of the kids. With that in mind, the idea to put realistic orange objects in the focus of each spot was born.
To build a story around convincing orange objects was a challenge but once that was achieved the other two Nick colours, white and green, worked into the design naturally. This helped to give the spots a unique style while maintaining the brand.
Indication of how successful the outcome was in the market:
The Idents were very well recieved at Nick Germany and the decision was made to export the Idents to the Austrian and Swiss market.
We have already been award Best Leader Prize from The Holland Animation Festival and have already been Selected by Anima 2009: The Brussels International Animation Festival and the Festival of Animated Film Stuttgart 09.
COTO-TAMA
Type of Entry:
Corporate or Brand Identity
Category:
Digital Design
Title:
COTO-TAMA
Advertiser/Client:
NHK ENTERPRISES
Product/Service:
DIGITAL ART FESTIVAL TOKYO 2008
Entrant Company:
HAKUHODO Tokyo, JAPAN
Design/Advertising Agency:
HAKUHODO Tokyo, JAPAN
Creative Credits
Name
Company
Position
Tsubasa Oyagi
Hakuhodo
Creative Director
Seichi Ookura
Hakuhodo
Creative Director
Tsubasa Oyagi
Hakuhodo
Copywriter
Seichi Ookura
Hakuhodo
Copywriter
Koichi Kosugi
Hakuhodo
Art Director
Shoko Akutagawa
Hakuhodo
Creative Producer
Toru Suzuki
Pyramid Film Quadra
Producer
You Kamihiro
Pyramid Film Quadra
Interactive Designer
Hideyuki Aida
Pyramid Film Quadra
System Engineer
Hajime Watanabe
Pyramid Film Quadra
Production Manager
Brief Explanation:
Our biggest challenge was how to communicate with young people that tend to block out traditional advertisements, and gather information from social networking services and blogs.
And at the same time, draw them into the world of digital art.
Describe the brief from the client:
Draw tech-savy young peopleв?Ts attention to digital art and have them come to Digital Art Festival Tokyo 2008.
Description of how you arrived at the final design:
We designed COTO-TAMA upon an old Japanese saying в??words have souls.в??
COTO-TAMA is a code comprised of 50 syllables with individual looks and souls.
We developed an interactive art widget around COTO-TAMA which allowed users to send and receive messages in COTO-TAMA form. This acted as a promotional tool for the event organizers and COTO-TAMA also became the key visual for the festival.
Indication of how successful the outcome was in the market:
The COTO-TAMA widget was the no.1 downloaded widget in Adobe Air Gallery in just 20 days.
By creating fans of COTO-TAMA, we succeeded in hijacking our targetв?Ts desktops which created a new community of digital art fans. As a result, the number of people who went to Digital Art Festival Tokyo 2008 increased by 25% compared to the previous year.
MISS DIOR CHГ%RIE
Type of Entry:
Corporate or Brand Identity
Category:
Digital Design
Title:
MISS DIOR CHГ%RIE
Advertiser/Client:
DIOR
Product/Service:
MISS DIOR CHERIE
Entrant Company:
PUBLICIS NET Paris, FRANCE
Design/Advertising Agency:
PUBLICIS NET Paris, FRANCE
2nd Design/Advertising Agency:
PUBLICIS CONSEIL Paris, FRANCE
Creative Credits
Name
Company
Position
Philippe Simonet
Publicis Net
Creative Director
David Polonia
Publicis Net
Art Director
Adrien Havet
Publicis Net
Jr. Art Director
Cathy Karsenty
Publicis Net
Copywriter
Eva Castrillo
Publicis Net
Project Manager
Marie Jeunet
Publicis Net
Jr. Copywriter
David Gompel
Publicis Net
Account Director
Fanny Le Gloanic
Publicis Net
Account Manager
Brief Explanation:
Tell the tale of Miss Dior Cherieв?Ts Parisian journey through an interactive personal diary, designed like a pop up book.
Describe the brief from the client:
Christian Dior Parfums decided to relaunch the Miss Dior Cherie Fragrance range and rejuvenate the brand with the launch of a new product: Miss Dior Cherie L'eau.
Description of how you arrived at the final design:
The site delivers an original and immersive experience, where the visitor accompanies Miss Dior Cherieв?Ts wander through Paris during a single day, a journey paced by time points in the diary. The site displays information about the new fragrance, behind the scene videos, the commercialв?Ts making of, interviews and some surprisesв?¦ The visual experience is enchanted by a very Parisian soundtrack: the hypnotic voice of Brigitte Bardot.
2008 ONE SHOW EXHIBITION
Type of Entry:
Environmental Design
Category:
Environmental Design: Semi-Permanent
Title:
2008 ONE SHOW EXHIBITION
Advertiser/Client:
YOSHIDA HIDEO MEMORIAL FOUNDATION
Product/Service:
2008 ONE SHOW EXHIBITION
Entrant Company:
DENTSU Tokyo, JAPAN
Design/Advertising Agency:
DENTSU Tokyo, JAPAN
Creative Credits
Name
Company
Position
Yuya Furukawa
Dentsu
Creative Director
Haruko Tsutsui
Dentsu
Copywriter
Yoshihiro Yagi
Dentsu Inc.
Art Director
Katachi
Katachi
Production Company
Yo Kimura
Katachi
Designer
Yuka Yokokawa
Katachi
Designer
Takeshi Arimoto
Style Printing
Printing Producer
Takehide Tarusawa
Yoshida Hideo Memorial Foundation
Advertiser's Supervisor
Brief Explanation:
Generate traffic with an idea that connects the venue with the visitors.
We sent a direct mailer, в??Dig! DM,в?? with a miniature digging tool inside (e.g, shovel or shovel car), inviting the recipient to bring it and в??dig into the world of creative ideas.в??
Describe the brief from the client:
To design an exhibition for the OneShow 2008 in Japan.
OneShow is one of the worldв?Ts most coveted and difficult to win awards, but it is not as well known as Cannes. The aim of the exhibition design therefore was to create interest in OneShow among the Japanese public and to generate traffic to the exhibition.
Description of how you arrived at the final design:
Once at the venue, the visitor is absorbed in the world of brilliant creative works в??dug upв?? from around the world.
Posters, pamphlets and panel display at the venue were based on the concept that в??coming up with brilliant ideas is as hard a job as finding gold (= Gold Pencil),в?? trying to capture the creatorв?Ts unending pursuit of creative ideas, in a subdued color scheme of white, black and gold.
Indication of how successful the outcome was in the market:
The number of visitors to the exhibit increased 40% compared with the previous year.
Many came after being attracted by the poster and the direct mailer. The fact that all the pamphlets and leaflets were gone in xx days was a surprising reaction that we did not expect.
STREET TO SCHOOL
Type of Entry:
Environmental Design
Category:
Environmental Design: Semi-Permanent
Title:
STREET TO SCHOOL
Advertiser/Client:
MAHARASHTRA JANAVIKAS KENDRA
Product/Service:
BALWADI NIGHT SCHOOL
Entrant Company:
JWT INDIA Mumbai, INDIA
Design/Advertising Agency:
JWT INDIA Mumbai, INDIA
Creative Credits
Name
Company
Position
Tista Sen
Jwt India
Executive Creative Director
Kainaz Karmakar
Jwt India
Sr. Creative Director
Harshad Rajadhyaksha
Jwt India
Sr. Creative Director
Kainaz Karmakar
Jwt India
Copywriter
Eshani Kumbhani
Jwt India
Art Director
Kaushal Thakkar
Jwt India
Senior Audio-Visual Manager
Rohit Redkar
Jwt India
Photographer
Nilesh Naik
Jwt India
Designer
Deepak Jadhav
Jwt India
Illustrator
Brief Explanation:
The challenge was to catch the attention of one of the busiest cities in the world, not only make the people aware of this project happening in one corner of the city, but to reach out to their hearts and their wallets in order to continue this project.
Describe the brief from the client:
Balwadi Night School, an initiative to teach child labourers living on the streets of Mumbai, was about to shut down due to lack of funds. Its noble intentions and its honest efforts were falling short as very few were aware of this school and those who were aware were not capable to help.
The clientв?Ts brief to the agency was to find a way to convince the в??havesв?T of the city to contribute towards the education of the в??have notsв?T.
Description of how you arrived at the final design:
Since the appeal was for a Night School for street children, the design involved 12 nights, 35 streets, and a simple everyday school book brought to life like never before. Itв?Ts what we like to call a Live A-Z Picture Book.
For an entire month, we scouted the city from end and end for the best locations. This live picture book was projected at these locations, everyday at nightfall. Every alphabet slide was projected at a different spot and the picture corresponding to each alphabet was replaced by a real street object of Mumbai.
Indication of how successful the outcome was in the market:
People on the streets stopped to see the live picture book but their response didnв?Tt stop there. Stationery, money, volunteers, donations poured in, in many forms.
The campaign was executed for under Rs 1,00,000, (USD 2000 approx) and all we needed was a meagre sum of Rs 600 (USD 12) annually, to fund 1 student's schooling.
Mumbai was moved and it showed in the fact that within one month of the campaign, the Night School re-opened with not 50, not 100, but 150 students saying в??good evening teacherв?T.
And since then the school receives enough funding to enrol at least 100 new students every month.
KINETIC SCULPTURE
Type of Entry:
Environmental Design
Category:
Environmental Design: Permanent
Title:
KINETIC SCULPTURE
Advertiser/Client:
BMW GROUP
Product/Service:
BMW
Entrant Company:
ART+COM Berlin, GERMANY
Design/Advertising Agency:
ART+COM Berlin, GERMANY
Creative Credits
Name
Company
Position
Joachim Sauter
Art/Com
Creative Director
Patrick Kochlik
Art/Com
Art Director
Petra Trefzger
Art/Com
Art Director
Susanne Traeger
Art/Com
Computer Animation
Brief Explanation:
Instead of simply showing images or movies, we wanted to demonstrate the design-process in a challenging, metaphorical way. Therefore, we developed the Kinetic Sculpture, which shows the process of form-finding in a three-dimensional space. It focuses the central topic в??Designв?? in the new BMW Museum and sets the tone for the entire exhibition, attuning visitors of all ages to the museum from the very beginning.
Describe the brief from the client:
Create a space in which the design-process of a car is shown, from an unspecified starting point via competing forms to the finished result.
Description of how you arrived at the final design:
The Kinetic Sculpture is a metaphorical translation of the process of form-finding in design.
714 metal spheres, hanging from thin steel wires attached to individually-controlled stepper motors and covering the area of six square meters, animate a seven minute long mechatronic narrative. Moving chaotically at first, the sculpture evolves through several competing forms and eventually resolves into a final shape whose profile hints at one of many well-known, historic and latest, BMW automobiles.
The cycle is synchronised with a graphic light strip running around the walls and texts and audio quotes from BMW associates on the companyв?Ts values and design aims.
Indication of how successful the outcome was in the market:
Shortly after the opening of the BMW Museum, the Kinetic Sculpture became the most watched video worldwide in the category в??Automotiveв?? on YouTube for a week.
MEDIATECTURE
Type of Entry:
Environmental Design
Category:
Environmental Design: Permanent
Title:
MEDIATECTURE
Advertiser/Client:
BMW GROUP
Product/Service:
BMW
Entrant Company:
ART+COM Berlin, GERMANY
Design/Advertising Agency:
ART+COM Berlin, GERMANY
2nd Design/Advertising Agency:
ATELIER BRГ?CKNER Berlin, GERMANY
Creative Credits
Name
Company
Position
Joachim Sauter
Art/Com
Creative Director
Uwe BrГ?ckner
Atelier BrГ?ckner
Creative Director
Dennis Paul
Art/Com
Art Director
Susanne Traeger
Art/Com
Computer Animation
Jens-Ove Panknin
Art/Com
Computer Animation
Christine Paech
Art/Com
Computer Animation
David Siegel
Art/Com
Computer Animation
Gerd GrГ?neis
Art/Com
Computer Animation
Tobias Gremmler
Art/Com
Computer Animation
Brief Explanation:
The BMW Museum is built in the form of a city space with seven в??housesв?? around a central plaza. This plaza itself is not vast; therefore, the first challenge was to expand it by media.
To achieve this, we covered the facades of these houses with a 700 sq m Mediatecture, a symbiosis of media and architecture.
Secondly, cars in a museum are not in their natural habitat, but instead are confined and staying put. We used media to make them move again.
By Mediatecture we finally achieved both the key objectives: Enlargement and Dynamism.
Describe the brief from the client:
The approach was to create a dynamic environment for a museum of mobility.
Description of how you arrived at the final design:
To achieve the transformation from a screen-based cinematic to a dynamic architectural surface, the 700 square meters of the walls are completely covered with 1,7 million mono-chrome white LEDs and are then covered with 13-meter-high opaque glass. With this, no technology is visible any more.
Indication of how successful the outcome was in the market:
The Mediatecture on one hand enlarges the space by extending it virtually through three-dimensional moving images.
It also sets the exhibited в??parkedв?? cars into motion relative to the animated walls. In the reactive mode, the pattern of illumination changes according to the mere presence of visitors and thus actively involves them in the scenario.
After the re-opening in June 2008 the visitor attendance of the museum doubled in comparison to the year before.
JME FOOD RANGE
Type of Entry:
Packaging Design
Category:
Foods
Title:
JME FOOD RANGE
Advertiser/Client:
JAMIE OLIVER
Product/Service:
JAMIE OLIVER'S LIFESTYLE RANGE
Entrant Company:
PEARLFISHER London, UNITED KINGDOM
Design/Advertising Agency:
PEARLFISHER London, UNITED KINGDOM
Creative Credits
Name
Company
Position
Shaun Bowen
Pearlfisher
Creative Director
Sarah Pidgeon
Pearlfisher
Design Director
Natalie Chung
Pearlfisher
Design Director
Beth Marcall
Pearlfisher
Senior Account Manager
Henry Preston
Pearlfisher
Digital Artworker
Lucy Milne
Pearlfisher
Digiital Artworker
Sylvie Saunders
Pearlfisher
Copywriter
Tracy Sutton
Pearlfisher
Realisation Manager
Brief Explanation:
Jme brings together experienced designers, producers and growers into its collaborative brand. Therefore, the brand identity and packaging has to reflect this eclectic mix of expertise.
To differentiate this collection from other lifestyle brands, we created an inspiring segmentation, focusing on the mix of products and how they come together differently in each individual home.
Therefore, the packaging design for each Jme product is guided by the segmentation. Each segment has its own broad look and feel, enabling us to create clear territories for design while maintaining a cohesive family feel across the ranges.
Describe the brief from the client:
Jme is a new collaborative lifestyle concept originating from Jamie Oliver. It is a distinct, stand-alone brand that moves from the kitchen into the wider home, retaining the celebrated chefв?Ts clear beliefs and values but focusing on ideas from a collective of like-minded lifestyle experts rather than Jamie alone.
The brief was to create a strong logo and visual identity for Jme and develop inspiring packaging for the food range, to include Christmas items, snacks, conserves, preserves and condiments.
Each product required a unique, interesting and practical packaging solution that engaged consumers and brightened up their day with considered touches.
Description of how you arrived at the final design:
The packaging for this eclectic lifestyle range is fresh, striking and considered, reflecting the function of each product, and using the bold Jme logo to hold the collection together. It also uses imaginative and environmentally responsible packaging solutions.
Jme larder products reference artisan traditions of market stall markers and handwritten labels. They sit under the Make & Grow segment, providing functional yet creative ideas for the home. Christmas food sits in the Gather & Share segment, focusing on shared experiences, and takes traditional festive cues and turning them on their heads. For example, a packing crate houses a luxury pudding.
Indication of how successful the outcome was in the market:
Jme launched online in December 2008 and since then it has received an average of 22,000 unique visitors a week. There was only minimal PR and no advertising spend on launch so traffic has come via the Jamie Oliver website and word of mouth.
When Jme launched in a dedicated London retail space alongside Jamie Oliver's cookery class concept, Recipease, it outperformed predicted sales by 100%, being responsible for 40% of the shop's revenue in its first two weeks.
GUT OGGAU WINE BOTTLES & WINE BOX
Type of Entry:
Packaging Design
Category:
Alcoholic Drinks
Title:
GUT OGGAU WINE BOTTLES & WINE BOX
Advertiser/Client:
EDUARD TSCHEPPE
Product/Service:
WINE GROWING ESTATE
Entrant Company:
JUNG von MATT Vienna, AUSTRIA
Design/Advertising Agency:
JUNG von MATT Vienna, AUSTRIA
Creative Credits
Name
Company
Position
Andreas Putz
Jung Von Matt
Executive Creative Director
Volkmar Weiss
Jung Von Matt
Creative Director
Thomas Niederdorfer
Jung Von Matt
Creative Director
Volkmar Weiss
Jung Von Matt
Art Director
Thomas Niederdorfer
Jung Von Matt
Copywriter
Dietmar Voll
Jung Von Matt
Copywriter
Iris Dominek
Jung Von Matt
Typographer
Anje Jager
Anja Jager
Illustrator
Judith Zingerle
Jung Von Matt
Account Manager
Brief Explanation:
The Oggau Estate is an Austrian wine growing estate that produces 9 wines which differ in character and age. It was our task to design labels and packaging for those wines.
Since every wine, like every man, has its own individual character we assigned a face, a story and a name to each wine. Eventually, this led to a typical family clan with grandparents, parents and children.
Describe the brief from the client:
The Oggau Estate is an Austrian wine growing estate that produces 9 wines which differ in character and age. It was our task to design labels and packaging for those wines.
Description of how you arrived at the final design:
Just like every man, every wine has its own individual character ranging
from young to mature, from playful to complex. We assigned a face, a
story and a name to these different attributes. Eventually, this led to a typical family clan with grandparents, parents and children.
Indication of how successful the outcome was in the market:
Within the first six weeks Gut Oggau sold 15,000 bottles. Three types of wine were sold out immediately. Renowned Austrian wine dealers and restaurateurs included the wines in their assortments. Furthermore, numerous articles in the Austrian media as well as in international specialist publications covered the release.
COFFRE FORT VIKTOR&ROLF
Type of Entry:
Packaging Design
Category:
Cosmetics & Beauty
Title:
COFFRE FORT VIKTOR&ROLF
Advertiser/Client:
L'ORГ%AL
Product/Service:
PERFUME
Entrant Company:
RAISON PURE Paris, FRANCE
Design/Advertising Agency:
RAISON PURE Paris, FRANCE
Creative Credits
Name
Company
Position
SГcbastien Servaire
R'pure Studio
CEO
Brief Explanation:
The key objective was to surprise and to continue the philosphy of astonishment of the brand marketing.
The agency had to create a formal register for a promotional product.
Describe the brief from the client:
The brief was to find a structural surprising register for a very creative universe such as Viktor&Rolf, for the Antidote and FlowerBomb perfumes.
Description of how you arrived at the final design:
The agency decided to push the concept of secret till the end by creating a strong box in metal with a real closing system and a key. The plus side of the agency was the capacity to give a real technical solution for production.
This creation is a part of the three years collaboration between the agency and the brand which share the same touch of craziness.
Indication of how successful the outcome was in the market:
The product was a great success, especially with press. Journalists loved this totally atypical object.
The TrongBox also received a prize on the industrial "Formes de luxe" awards of Monaco.
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