In Japan it’s not unusual to come across outdoor street events promoting one brand or another. However, about 7 years ago, Microsoft Japan caused a bit of a sensation when it initiated the “Big Shadow” project in the Shibuya area of Tokyo. Shibuya is a part of town that’s especially popular amongst people 15-35—ideal targets for the product spotlighted at the event, the Blue Dragon video game for the XBox 360.
GT Tokyo drew on a certain function within in the XBox game, Blue Dragon – where the protagonist’s shadow becomes a dragon when he fights – for its promotion of the game in Japan. Focusing on the primordial human experience of shadows, the agency projected magnified shadows of ordinary people against buildings in Shibuya, Tokyo, and created a system whereby they could play with them. The projected shadow could suddenly change into the shape of a dragon, adding to the fun.
Technology formed the backbone of the project – the “shadow” cast were not real, but were projections of images captured by a video camera and manipulated with a specially developed program before being cast onto the wall by four powerful projectors. This combination of technology enabled the “shadow” to morph into shapes such as the dragon shadow images. The dragon would appear when partecipants performed certains actions, such as raising their arms over their heads. Minotaur and Phoenix shadows were also programmed to appear alongside projections of a giant hand, a foot and a cup of water.
Extra shadows could be added to the on-site wall projection in real time via the internet. All the relayed images were the archived online, where users could view them as a sequence of still images arranged along a time axis.
The event and website were awarded gold lion in Cannes and a gold medal in the interactive campaign category of the Tokyo Interactive Ad Awards for 2007.
Insights, Strategy & the Idea
Iwate Nippo, a newspaper company in a rural Japanese town, faced the problems of dwindling circulation and a growing indifference on the part of youth towards newspapers. The newspaper needed something to help it break free from these trends and create a new bond with readers as a ‘newspaper loved by local residents. ‘ Although today’s world is applauded for its globalization, we focused on the local residents who are the newspaper’s clients and created a system in which individual readers could utilize the media power of the newspaper to communicate any type of good news, be it small, everyday types of happiness or huge, life-altering types of happiness.
To create a new bond with readers as a “newspaper loved by local residents,” the newspaper decided to celebrate its readers’ good news. This is how IWATTE was born. IWATTE is a special edition newspaper service that anyone can use to publish their news. Users can easily sign up online and then share their printed newspapers with friends and family. We proposed the IWATTE system in which readers communicate their news to the newspaper, which would then print that news, because to a reader, happy news close to home is just as important as world news. The service was embraced by a large number of readers and created a lot of buzz. After the service was launched, the buzz grew even larger and was eventually a hot topic among the media despite the fact that almost no advertisements had been run in the mass media.
Results and Effectiveness
・2 million hits to the Iwate Nippo website since the launch of IWATTE
・151% increase in awareness of Iwate Nippo since the launch of the service according to a survey
・20% increase in young people wanting to join the company compared to the previous year
・100% maintenance of circulation since the launch of IWATTE
Advertising Agency: Hakuhodo DY Media Partners, Tokyo
The Asahi Shimbun, the top share newspaper in Japan, renews greatly its layout and figure. To communicate the “movement” we made all the ads on the paper move. Most readers watched the advertising much longer than usual (about 20min per person) because of the surprise that the newspaper ad moved and the accuracy of the movement.
The Moving Ad told both of the renewal of Asahi Shimbun and what clients (of Asahi Shimbun) want to say at the same time.
As a result, the Moving Ad was watched by 1.3 million families of the reader and attracted the attention from over 100 of internet media like blogs, SNS, videos on Youtube and TV news.
Advertising Agency: Dentsu Kansai, Osaka
Executive Creative Director: Takaaki Yamazaki
Creative Director: Jurichi Harima
Art director: Mamoru Ichino
Brief and strategy
The communication goal was to establish, both literally and figuratively, a warmer connection between Knorr and Japanese customers, enhancing Knorr’s brand image. Because the budget for the campaign was quite small, we needed to make big impact through a surprising campaign. The insight is timeless: when people are cold, they want something warm to eat and drink. With that insight in mind, we also sought a touch point where the target could ponder the pleasure of warm soup on a cold day, without shivering in the cold. We aimed to give people a true sensation of sitting next to a cup of warm soup on a cold winter day.
Our media choice was unique: train windows. Our creative material was special stickers that, when placed on the windows, gave the impression of condensation caused by a streaming cup of soup. In the midst of the “condensation” apparently written with a finger, was the product message. We placed these ads in a cold, snowy region during the winter, so the real landscape beyond the train windows became part of the creative, too. Using train windows as the medium offered us two key advantages. First, passengers had to move from the cold outdoors to get into the warm train, so the sensations of cold and warm were fresh in their minds. Second, during a train ride, passengers spend much time observing their surroundings. The unique creative stirred people’s curiosity, becoming a topic of conversation inside the cars. Many passengers used cellphones to take pictures of it.
With a budget of only US $10,000 for creative, production and media, we exposed this advertising to approximately 600,000 passengers. Since passengers interacted with the creative intimately, the campaign had the desired effect of establishing a warmer bond between the Knorr brand and its customers.
Advertising Agency: Hakuhodo, Tokyo
Creative Director: Mutsumi Bando
Creative: Makoto Fujita
Coca-Cola Italia – BLIND BOTTLE
Coca-Cola Classic – SEALS/PENGUIN
Coca-Cola Brazil – TRUCK/HYDRANT
Coca-Cola India – BARCODE
Coca-Cola India – GLASSES
Coca-Cola New Zealand – ENJOY Campaign
Advertising Agency: Publicis Mojo, New Zealand
Creative Director: Laclhan Mcpherson
Copywriter: Seymour Pope
Art Director: Laclhan Mcpherson
Photographer/Illustrator: Kane Mcpherson/Mike Shepherd
Coca-Cola Spain – FISH TANK/NEW HOUSE
Coca-Cola Poland – BOOKSHELF/PENCIL
Coca-Cola India – BARBER SHOP/MAN IN THE SHADOW
In India, the word ‘Thanda’ has many meanings. It means ‘cool’, ‘cold’, as well as ‘refreshing’. Any refreshing drink, including soft drinks are also referred to as ‘thanda’. Guests are asked whether they would prefer coffee, tea or ‘thanda’ (something cool and refreshing). Therefore the headline in Hindi (the local language) means “Cool Means Coca-Cola”.
Advertising Agency: McCann Erickson India
Creative Director: Prasoon Joshi
Copywriter: Prasoon Joshi
Art Director: Akshay Kapnadak
Photographer: Altaf Khan
Gold Lion for the campaign
Coca-Cola India – REFRESHING WIND/REFRESHING BATH/REFRESHING RADIATOR
Coca-Cola Italia – BOTTLE/KISS
Coca-Cola UK – THE REAL WORLD OF COCA-COLA Campaign
Coca-Cola de Argentina – FACES
Advertising Agency: McCann Erikson Argentina
Creative Director: Martin Mercado/Esteban Pigni
Copywriter: Pablo Romano/Martin Mercado/Esteban Pigni
Art Director: Christian Maselli/Diego Tuya/Denise Rodman
Photographer: Charlie Mainardi
Coca-Cola, Germany – BLACK
Coca-Cola, Germany – THOUGHT/DREAM/IDEA
Advertising Agency: Springer & Jacoby, Hamburg
Creative Director: Till Hohmann/Axel Thomsen/Bettina Olf
Copywriter: Menno Kluin
Art Director: Menno Kluin
Coca-Cola Spain – CLOUDS/SHAME
Coca-Cola Spain – MANDALA/MOON/WAVE
Coca-Cola Philippines – VALENTINES
Coca-Cola Japan – Coke, Please Campaign
Coca-Cola Pacific – SURFER
Advertising Agency: Ogilvy & Mather, Singapore
Creative Director: Sanol Dabral
Copywriter: Neil Flory
Art Director: Alan Vladusic
Coca-Cola New Zealand – SUMMER AS IT SHOULD BE
Coke Side of Life Campaign – LIQUID SPLASH/COLOUR SPLASH/GUNS/TOGETHER/STRAWS/RAINBOW HAND
Advertising Agency: Wieden+Kennedy, Amsterdam
Executive Creative Director: Al Moseley/John Norman
Creative Director: Rick Condos/Hunter Hindman
Copywriter: Rick Condos/Giles Montgomery
Art Director: Hunter Hindman
Illustrator: Dave Fikkert/Pierre Janneau/Genevieve Gauckler/Spencer Wilson
Coke Side of Life – COCA-COLA ART GALLERY
In 2006, Wieden+Kennedy Amsterdam has commissioned artists and collectives from around the world to create experimental work for the global “The Coke Side of Life” campaign. The result is a range of original artworks by emerging image-makers as different as Catalina Estrada, Geneviève Gauckler or the Peepshow Collective, … many of whom have gone on to make strong impacts in today’s graphic design & art scene.
The ‘Coca-Cola’ Art Gallery is a collection of images that has been designed by leading artists and designers. They have all depicted their own interpretation of ‘The Coke Side of Life’ philosophy.
The work of the artists reflects various styles, personalities and cultures, and all designs have one thing in common: they are colourful explosions of energy, optimism and happiness.
Throughout its 120-year history, advertising and communication has played a vital role in shaping ‘Coca-Cola’ into an iconic, cultural and timeless brand. Over the years, ‘Coca-Cola’ has continually challenged artists and agencies to create innovative refreshing images.
The diverse backgrounds of the contributing artists and designers, has resulted in a range of images that reflect different cultures and societies. By combining the iconic original glass bottle image with up-to-date illustration techniques and styles, the artists have given rise to a progressive style of visual expression.
‘Coca-Cola’ has always had a strong artistic heritage having been famously interpreted by artists such as Haddon Sundblom, Norman Rockwell and Andy Warhol who have all reflected the social and cultural attitudes of the time.
Live the Coke Side of the Music – VIOLIN/FACES/INSTRUMENTS
Coca-Cola – CREATED IN 1886
After years of cool marketing campaigns revolving around football, music and latterly computer gaming, the world’s most famous brand is going back to basics. Coca-Cola has been communicating about its product, what’s in it “Nothing artificial. Never had been, never will be” and the product heritage, dating back to 1886 when John Pemberton created his secret formula.
Advertising Agency: Weiden+Kennedy, Portland
Open Happiness Campaign – BRRR/AHHH/BURP/FIZZZ/PSSST/GULP
“Open Happiness”is an advertising focus building on the award-winning “Coke Side of Life” campaign. The new tag line, seen in this series of print advertisements, will serve as a platform for all integrated marketing for the Coca Cola brand around the world, tying together the pleasure of opening up a drink and the satisfaction of sharing with others. Open Happiness is designed to work at every level, from national advertising all the way down to coolers and store shelves, with a clear call to action at the point of purchase.”
Advertising Agency: Wieden+Kennedy, Amsterdam
Executive Creative Director: Jeff Kling/John Norman
Creative Director: Jorge Calleja/Sue Anderson
Copywriter: Sue nderson
Art Director: Craig Williams/Pierre Janneau
Illustrator: Pierre Janneau
Open Happines Campaign from Coca-Cola Pacific – BURP/LAUGH LINE/SMILE
This poster campaign introduce Coca-Cola’s new Open Happiness platform to a relatively young audience — locally.
These “bottles” executed in a breezy manner bring out the full flavour of the Open Happiness campaign. The light-hearted messages in the shape of iconic Coke bottles invite the audience “to open happiness” — even without overt Coke branding.
Advertising Agency: Euro RSCG, Singapore
Creative Director: Alfred Wee
Copywriter: Wong Wai Ling
Art Director: Jimmy Kim/Seah Ting Ting
Illustrator: Evan Lim
Advertising Agency: Dentsu, Tokyo
Art Director: Sayako Ishida
Copywriter: Yukio Hashiguchi, Masashi Oomae