So sad and cute…

Agency: DDB, Toronto
Creative Director: Andrew Simon
Art Director: Paul Wallace, Shelley Lewis
Copywriter: David Ross
Agency Producer:Andrew Schulze
Director: David Hicks
Production Company: Sons and Daughters, Toronto
Director of Photography: Adam Marsden
Visual Effects: AXYZ, Toronto
Lead Animator/Shading/Lighting: Dennis Turner

Beginning July 27 and continuing for three weeks, passersby in Chicago’s Jackson Tunnel will be greeted with an out-of-home message, “Our potatoes are grown closer than you may think,” along with an overhead installation of potatoes breaking through the ceiling tiles. It’s part of a nationwide campaign for Lay’s potato chips that broke in May and which celebrates the local potato farmers who grow potatoes used in Lay’s potato chips. The “Lay’s Local” 360 marketing campaign was created by Lay’s U.S. agency of record, Juniper Park. Other elements of the campaign, which debuted earlier, include TV, print, online, on-pack and in-store.

Advertising Agency: Juniper Park, USA
Chief Creative Officers: Alan Madill, Terry Drummond, Barry Quinn
Associate Creative Director / Art Director: Hylton Mann
Associate Creative Director / Writer: Andy Linardatos
Producer: Debbie Ingham

In order to promote the April issue of Car Magazine, which features an in depth guide to this year’s Formula One season, Ogilvy Cape Town gave stationary drivers a true F1 experience. F1-style lollipop men stood at traffic lights and dropped their lollipop signs in front of cars as they stopped.

The sign read: “It’s F1 Season.”

In true F1 fashion, the “lollipop men” would then flip their lollipop signs to reveal the Car Magazine message:
“Get the F1 Guide. Car. The April F1 Issue. On sale now. Brought to you by Richelieu.”

Hundreds of drivers were informed of Car Magazine’s F1 feature and treated to an F1 experience on their way home from work.

Advertising Agency: Ogilvy, Cape Town, South Africa
Executive Creative Director: Chris Gotz
Creative Director: Gordon Ray
Art Director: Matthew Pullen
Copywriter: Craig Ross

For more detailed information, the flowers were created and fabricated by Poetic Kinetics, Inc.
http://www.poetickinetics.com

Advertising Agency: Saatchi & Saatchi, Los Angeles, USA
ACD/Art Director: Kelly Kliebe
Art Director: Nick Luckett
Art Producer: Kristina Hicks
Copywriter: Shannon Wilch
Creative Director: Andrew Christou
Director of Integrated Production/Multimedia: Tanya LeSieur
Executive Creative Director: Mike McKay
Integrated Design Creative Director: Ryan Jacobs
Print Producer: Gloria Olegario
Producer: Britta Couris

Advertising Agency: DDB Brasil, São Paulo, Brazil
Creative Directors: Júlio Andery, Rodolfo Sampaio, Sergio Valente
Art Director: Benjamin Yung Jr
Copywriter: Arício Fortes

Agency uses translation and the post office for innovative campaign.

Cannes (Adage.com)—In Japan’s insanely competitive retail environment, one of the world’s most familiar confectionery products found an unlikely new distribution channel and won the Media Grand Prix for Nestle’s Kit Kat and JWT Japan today in Cannes.
JWT was struck by the Japanese translation of Kit Kat—Kitto Katso means “surely win”—and the tradition of sending students good luck wishes before they take tough higher education entrance exams. So Nestle partnered with Japan’s post office to create “Kit Kat Mail,” a post card-like product sold only at the post office that could be mailed to students as an edible good luck charm. “It was a brilliant idea, flawless execution and amazing results,” said Nick Brien, president-CEO of Mediabrands Worldwide and president of the media jury. “They created a business model that didn’t exist before.”

In innovation piled on innovation, Kit Kat Mail was available in 20,000 Japan Post outlets, creating a new, competition-free retail channel where the product was heavily promoted in a place where there were no rival products, and became part of the popular culture. It was also the first time Japan Post ever partnered with a private company.

Brien said Kit Kat Mail also garnered $11 million worth of free publicity, and Nestle is keeping it as a permanent product. “Exams are over but people still send it to wish good luck on any occasion.” This year’s revamped Media Lions graded heavily on effectiveness, and the jury tossed out terrific ideas they loved that didn’t rigorously address execution and proof of results.

kitkat japan win Media Grand Prix

“The focus was solutions that worked,” Brien said.

There were still a hefty number of Media Lions—20 gold, 29 silver and 69 bronze, up from a total of 55 last year.

This week different juries are picking the same ads as Grand Prix contenders. The other closest candidate for the Media Grand Prix was a heartfelt effort to raise awareness of the forced-into-exile newspaper The Zimbabwean by putting a message about its plight on Zimbabwe’s worthless trillion dollar bills and using the currency as a giant poster and a brochure and other media. The outdoor portion of the campaign, by TBWA Hunt Lascaris, Johannesburg, won the Outdoor Grand Prix. In the end, The Zimababwean won gold but didn’t muster enough votes to win the Media Grand Prix because the idea of turning money into media had been used before and so was not entirely original, Brien said.

Another jury favorite, “The Best Job in the World” for Tourism Queensland, reappeared as a gold winner in media after picking up two Grand Prix on Monday, in both the Lions Direct and the new PR Lions competitions. The integrated campaign by Cummins Nitro, Brisbane, to promote tourism to Australia under the guise of recruiting for a dream job as a lighthouse keeper, was a contender for the media Grand Prix, too.

The U.S. won four gold Media Lions, including Crispin, Porter + Bogusky’s notorious “Whopper Sacrifice” promotion for Burger King that offered each Facebook user who deleted ten friends a free Whopper, and a campaign called “Reinventing the Magazine” for Lexus USA by Team One, El Segundo, Calif., that judges said belied frequent talk about the demise of print media. Lexus partnered with Time Inc. to customize a magazine for readers based on information they provided about themselves and multiple data bases. Content was drawn from eight different Time Inc magazines and Lexus ads were tailored to the individual reader in a series of five on-demand issues of “Mine” delivered to consumers in the print or digital form they chose.

“It was brilliant how they were able to bring that level of customization when there’s talk about the death of magazines,” said Monica Gadsby, CEO of SMG Multicultural and a Media Lions judge. “Consumers’ names are even embedded in the ads.”

The other two U.S. gold Media Lion winners were DDB West, San Francisco for The Clorox Co.’s Green Works Natural Cleaner and a Walmart sustainability campaign by Mediavest USA, New York.

Brien succeeded in raising the bar on requiring proof of effectiveness for this year’s Media Lion winners, but is still working on a different challenge: getting more media agencies to enter the Media Lions. About two-thirds of the 20 gold winners and the Grand Prix were entered by creative agencies like Crispin and JWT, and only one-third by media agencies, a proportion he said was representative of the 1,840 entries this year.

source from: http://creativity-online.com/?action=news:article&newsId=137522&sectionId=cannes09

There was no lack of technological innovation represented among the 1100-plus Design Lions entries this year, but in awarding the Grand Prix to Nike’s “Paper Battlefield,” the 2009 jury saluted a platform that dates back to the tenth century — the silk screen.

Created out of McCann Worldgroup Causeway Bay, Hong Kong, Paper Battlefield is a series of posters created by and featuring the teenage stars of the Nike Basketball League. The posters were designed to capture the energy of basketball competition as well as promote the games. Photos of the top ten league players in action formed the templates for the posters. The players themselves were then invited to a studio to create custom poster designs — silk screening the images on top of one another in various combinations. As the case study video and the judges noted, “the posters became the battlefield.”

The design jury, lead by Sylvia Vitale Rotta of Team Creatif in France, cited the campaign for its simplicity, its culture-spanning communication power and for embodying the marketer’s brand values. Jurors also lauded the effort for pushing the idea of what a poster can be. “It was a new way of approaching poster design,” said Jennifer Morla of Morla Design in San Francisco. “It was socially distributed design process,” said juror Marc Shillum of R/GA. “It allowed the players to experiment and to have a battle as they would on the court.”

The design jury was reasonably generous, awarding a total of 22 Gold, 23 Silver and 37 Bronze Lions. Among the four U.S. Gold winners: the Nokia Vine brand identity/mobile application from R/GA, Fallon’s social media aggregator, Skimmer, a Buick style guide from Leo Burnett Chicago and Sapient’s interactive touchscreen vending machines for Coke. The U.S. won 11 Lions in all.

Gold Lions also went to BMW’s Kinetic Sculpture from Art+Com Berlin, which has scooped up a host of prizes this year including a Black Pencil at D&AD. Germany won 12 Lions in total, making it the most awarded country in design. The Zimbabwean’s Trillion Dollar Campaign effort, which won the Outdoor Grand Prix, was also awarded a Gold Design Lion.

The design winners list is notable for the number of ad agencies credited versus design companies per se, and many of the winning entries do tend, as they did last year, to originate more in the advertising than the design space.

Vitale Rotta said the overall calibre of entries was high in this the second year that Cannes has recognized design as a category (and entries in the design category were actually up this year, in contrast to awards entries in general which have dipped with the economy).

There were three other entries in contention for the Grand Prix said Vitale Rotta, though a cagey jury wouldn’t reveal their identities. In selecting Paper Battlefield, the design jury seemed to echo other Cannes juries’ predilection for simplicity over technical virtuosity or category-busting innovation. “We liked that it was actually kind of low tech,” said one of the design jurors. “It was just full of life and joy and energy. If we could have taken one thing home with us, that would have been it.”

source from: http://creativity-online.com/?action=news:article&newsId=137550

Agency: Saatchi&Saatchi Frankfurt/Bucharest
ECD: John Pallant, Roger Kennedy, Burkhart Von Scheven, Thomas Kanosfky CD: Jorg Riommi, Daniela Nedelschi
Copywriter: Irina Popp
Art Director: Lucian Cernat
Photography and CGI: Carioca

Advertising Agency: Saatchi & Saatchi, Sydney, Australia
Creative Director: Steve Back
Art Director: Nic Buckingham
Copywriter: Paul Bootlis
Published: March 2009

廣告分享: 《經濟學人》
此裝置藝術公牛成立於美國得克薩斯州達拉斯市。在3天內，成千上萬的人看到/騎著公牛。這次活動成功令達拉斯媒體注意，並有幾家報紙和新聞報導。

Advertising Agency: BBDO, New York, USA
Chief Compliance Officers: David Lubars, Bill Bruce
Copywriter: Kara Goodrich
Art Director: James Clunie