Microsoft Xbox/BIG SHADOW – The Very Beginning of Video Projection Trend

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.


Iwatte Nippo – Your Happy News is our Top Story

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.

Creative Execution
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
Year: 2011
Gold Lion

Asahi Newspaper – The Asahi Newspaper Moves

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
Year: 2008
Gold Lion

Wild Bird Society of Japan – Voice of endangered wild birds

Brief: to create a sense of urgency around the extinction of endangered wild birds in Japan (Japanese red-crown crane, stork, albatross and yellow-breasted bunting).
Idea: we thought the best way to value these wonderful birds was to not just see them but actually be able to hear them. However, to get their beautiful songs in front of a younger target we needed a contemporary and relevant execution. So we went out and actually sampled the bird’s songs and mixed them into contemporary dance tracks. The tracks were then pressed into retro vinyl and placed in hip Tokyo record stores. Each endangered bird was given their own album with the quantity equaling the estimated number of that species left.

To create awareness with the younger Japanese generation of the many endangered birds species in Japan, we created the “Sounds of endangered wild birds” albums. The music was created by actually sampling the unique bird songs. We then pressed retro vinyl records and put them in the shelves at records shop in the young areas of Shibuya. We placed the same number of albums as the actual number of each bird left in Japan.
Results: although the number released was limited, the idea attracted the attention of local DJs. These artists have been purchasing the album and playing it in clubs throughout Tokyo which has been a successful tool in spreading the extinction message. In addition, the proceeds of the sales are used to further fund the endangered bird project.

Advertising Agency: Beacon Communicatons, Tokyo
Executive Creartive Director: Whit Friese
Creative Director: Hidekazu Sato
Copywriter: Haruo Yoshida
Year: 2008
Gold Lion

Knorr Cupsoup – Frosty Window

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.

Creative Executions
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
Year: 2005
Gold Lion

Coca-Cola (1998/2010) – Modern Print Ads

Coca-Cola Italia – BLIND BOTTLE

Advertising Agency: Leo Burnett, Milan
Creative Director: Fabrizio Russo
Copywriter: Maria Paola di Stefano
Art Director:Sandro Olivieri
Photographer: Studio Neon
Year: 1998

Coca-Cola Classic – SEALS/PENGUIN

Advertising Agency: Publicis Conseil
Creative Director: Olivier Desmettre
Art Director: Fabrice Delacourt
Photographer: Jeal-Noel Leblanc Bontemps
Year: 1999

Coca-Cola Brazil – TRUCK/HYDRANT

Advertising Agency: McCann Erikson Brazil
Creative Director: Luiz Nogueira
Copywriter: Monica Maligo
Art Director: Jose Luiz Vaz
Photographer: Mauro Risch
Year: 1999

Coca-Cola India – BARCODE

Advertising Agency: Leo Burnett India
Creative Director: KV Sridhar
Art Director:KV Sridhar
Year: 1999

Coca-Cola India – GLASSES

Advertising Agency: Leo Burnett India
Creative Director: Agnello Dias
Copywriter: SM Talha
Art Director: Vijay Kartik
Photographer: Prased Naik
Year: 2001

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
Year: 2001


Advertising Agency: El Laboratorio, Spain
Creative Director: Carlos Holemans/Eduard  Farran
Art Director: Armanda Carbonell
Photographer: Sara Zorraquino
Year: 2002


Advertising Agency: McCann Erickson Polska
Creative Director: Damir Brajdic
Copywriter: Katarzyna Orseszek-Korobleuska
Art Director: Arkadiusz Pawlik
Photographer: Jacek Wotowski
Year: 2003


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
Year: 2003
Gold Lion for the campaign


Advertising Agency: McCann Erickson India
Creative Director: Prasoon Joshi
Copywriter: Prasoon Joshi
Art Director: Akshay Kapnadak
Photographer: Altaf Khan
Year: 2004

Coca-Cola Italia – BOTTLE/KISS

Advertising Agency: McCann Erickson Milan
Creative Director: Alessandro Canale
Copywriter: Valerio Delle Foglie
Art Director: Antonio Mele
Photographer: Marco Ambrosi
Year: 2004


Advertising Agency: Mother, London
Creative Director: Robert Saville/Mark Waites
Copywriter: Yan Elliot
Art Director: Luke Williamson
Typographer: Stephen Allen
Year: 2004

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
Year: 2004

Coca-Cola, Germany – BLACK

Advertising Agency: Springer & Jacoby, Hamburg
Creative Director: Till Hohmann/Axel Thomsen/Bettina Olf
Copywriter: Birgit Bouer/Florian Kahler
Art Director: Jan Blumentritt
Year: 2005

Coca-Cola, Germany – THOUGHT/DREAM/IDEA

Headline: When a thought stays just a thought nothing changes.

Headline: Live your dream, don’t dream your life.

Headline: When an idea remains merely an n idea nothing changes.

Advertising Agency: Springer & Jacoby, Hamburg
Creative Director: Till Hohmann/Axel Thomsen/Bettina Olf
Copywriter: Menno Kluin
Art Director: Menno Kluin
Year: 2005

Coca-Cola Spain – CLOUDS/SHAME

Advertising Agency: McCann Erikson, Madrid
Creative Director: Marcos Garcia
Copywriter: Marcos Maggi
Art Director: Marcela Augustowsky
Illustrator: Genevive Glaucker
Year: 2005


Advertising Agency: McCann Erikson, Madrid
Creative Director: Marcos Garcia
Copywriter: David Moure/Pablo Castellano
Art Director: Javier Wandosell
Illustrator: Javier Wandosell
Year: 2005

Coca-Cola Philippines – VALENTINES

Advertising Agency: McCann Erikson Philippines
Creative Director: Peter Acuna/Carlo Directo/Micky Domingo
Copywriter: Lisa Kahn
Art Director: Che Soriano
Photographer: Jeanne Young
Year: 2005

Coca-Cola Japan – Coke, Please Campaign

Advertising Agency: Dentsu, Tokyo
Creative Director: Tohru Tanaka
Copywriter: Hirokazu Ueda/Satoshi Hanai
Art Director: Kengo Kato
Photographer: Shu Akashi
Year: 2007

Coca-Cola Pacific – SURFER

Advertising Agency: Ogilvy & Mather, Singapore
Creative Director: Sanol Dabral
Copywriter: Neil Flory
Art Director: Alan Vladusic
Year: 2007

Coca-Cola New Zealand – SUMMER AS IT SHOULD BE

Advertising Agency: Publicis Mojo, Auckland
Creative Director: Nick Worthington
Copywriter: Guy Denniston
Art Director: Emmanuel Bougnerers
Year: 2007


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
Year: 2007


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

Advertising Agency: JWT Brazil
Creative Director:Richardo Chester/Roberto Fernandez
Art Director: Roberto Fernandez
Illustrator: Roberto Fernandez
Year: 2007

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
Year: 2008


“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
Year: 2009

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
Year: 2010

10 Best Japanese Commercials

1 – Sagami Robber Industries – LONG DISTANCE
Publicising the product benefits of Sagami Original, the world’s thinnest condom at just 0.02 mm. By communicating a “love” theme, we were able to build an aimiable brand image that differed from other competitors. We used a real long distance couple from the entries received and asked them to run a 1000 km marathon.
The goal is for the two to embrace. When they do embrace, the distance between them, that began at 1,000,000,000 mm is now 0 mm..”.. and yet love needs distance”, is inserted, and the distance is pushed back to 0.02 mm. Thus the benefit of the world thinnest condom.
Advertising Agency: GT, Tokyo
Executive Creative Director: Takahisa Mitsumori
Copywriter: Naoki Ito
Art Director: Naoki Ito
Production Company: Rock & Roll, Tokyo
Director: Kan Equchi
Year: 2009
Gold Lion

2 – Nissin Cup Noodles – HUNGRY? Campaign

A tribe of primitive men in search of food chase a Moa bird. It leads them to the edge of a cliff where the Moa jumps into the air and the men fall over the precipice.
A tribe of primitive men in search of food chase a Synthetoceras into a hole. It repeatedly pops its head up in a different hole, thus exhausting its pursuers.
The primitive men pretend to be Quetzalcoatlus babies and beg for food, but once again they fail.

The primitive men are all over the Unitatherium, like bees on a honeycomb. Will they win at last? Not this time.


In which a well-known prehistoric family go fishing. Father is let down over a cliff’s edge on a baitless hook … Hungry? Try Nissin Seafood Cup Noodles.
In which our prehistoric family try to get some fruit by beating a tree with a club. Fruit falls down. So does a sabre-toothed tiger … Hungry? Try Nissin Cup Noodles.
In which the father of our prehistoric family spies some meat by the sleeping sabre-toothed tiger. But as he tries to grab it, the tiger awakes … Hungry? Try Nissin Cup Noodles.
Advertising Agency: Hakuhodo, Japan
Creative Director: Susumu Miyazaki
Copywriter: Tonomi Maeda
Art Director: Kuzohiro Suda
Production Company: Tohokushinsha Film Corporation
Director: Shinya Nakajima
Year: 1993, 1994, 1995, 1996
Grand Prix/Gold Lion/Silver Lion/Bronze Lion

3 – Morinaga & Co. Carrè de Chocolat – NON-BLINKING WOMAN
We made this commercial to show the appeal of “Carre-de-chocolat”, meltingly velvety authentic chocolate, particularly to married women in their 30s. The concept behind the product is that it can be enjoyed as part of relaxing moments in between their busy household work. The ad was very successful and “Carre-de-chocolat” has become a main brand in the chocolate category, even though it was a generic product.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yoshiro Sato
Copywriter: Makoto Shinohara/Tsunao Arita
Production Company: Mothers, Tokyo
Director: Jun Kawanishi
Year: 2008
Bronze Lion

4 – Toyota – HUMANITY
The film takes the form of a simple flowing narrative drive of a Toyota car through an urban/suburban environment. Whilst the film takes an elegant and traditional filmic approach in its portrayal of the car and its surroundings, various details and features of the Toyota range cars are depicted with a more bizarre twist. Instead of seeing the exact technical nature of the design features of the car, each item is depicted in a much more personal way using human “experts” to represent the function on show.
Advertising Agency: Hakuhodo, Tokyo
Creative Director: Hideyuki Tanno/Tetsuya Tokimatsu/Masahiko Ishii
Copywriter: Tetsuya Tokimatsu
Art Director: Hideyuki Tanno
Production Company: Stink, London
Director: Ne-o
Year: 2006
Silver Lion

5 – Champagne Nicolas Feullatte – TOAST MEN
In this commercial for Champagne Nicolas Feuillatte, scientists search for stronger glasses with which to give toasts. On behalf of Nihon Shurui Hanbai, we wanted to say to everyone, “many cheers!”
Advertising Agency: Dentsu, Tokyo
Creative Director: Yoshimitsu Sawamoto
Copywriter: Mayu Taguchi/Sohei Okano/Yuriko Taki
Art Director: Hideyuki Tanno
Production Company: Dentsu Creative X, Tokyo
Director: Jun Kawanishi
Year: 2011
Bronze Lion


Nike launched NIKE FREE RUN+, the new addition to the NIKE FREE footwear line in late March 2010. The main communications campaign conveyed the new model’s incredible flexibility with the tagline “Free like feet want to be”. Nike Japan further wanted to develop an idea that creates buzz about the shoe’s flexibility and NIKE+ compatibility. The idea was the NIKE MUSIC SHOE. Why not make a real musical instrument utilising the shoe’s unique bending features and create a soundtrack with it? The music performance was commissioned to breakbeats unit HIFANA, who collaborated in the creation of the instruments and also wrote the song.
Advertising Agency: Wieden+Kennedy, Tokyo
Creative Director: Frank Hahn/Naoki Ito
Copywriter: Hiroshi Kuyama/Takayuki Rokutan
Art Director: Shingo Ohno/Naoki Ga
Production Company: Taiyo Kikaku, Tokyo
Director: Kosai Sekine
Year: 2010
Bronze Lion

7 – Secam Home Security – THE BIG TEST
SECOM Home Security Service offers various individualised services, and closely watches over the safety and security of their customers 24 hours a day, 365 days a year. In this commercial, we showed the importance of having a security system by highlighting the fact that not everyone can resist the temptations right in front of them.
Advertising Agency: Dentsu, Tokyo
Creative Director: Hiroshi Sasaki
Copywriter: Yoshimitsu Sawamoto
Art Director: Naoki Ito
Production Company: Geek Picture, Tokyo
Director: Akira Nagai
Year: 2008
Silver Lion

8 – Panasonic Oxyride Battery – MANNED FLIGHT
Powering a plain with household batteries.
Advertising Agency: Hakuhodo, Tokyo
Creative Director: Katsunori Tsuyama/Satoru Yokoyama/Toshikazu Ieda
Copywriter: Toshiya Inoue/Kan Ishii/Kosuke Masuda
Production Company: Hat, Tokyo
Director: Kaoru Yamaguchi
Year: 2007
Bronze Lion

9 –
Ajinomoto Stadium – HUSKY GIRLS

A young man has moved to a new town. He finds all the women there very beautiful, but their voices are hideously hoarse from cheering.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yuya Furukama
Copywriter: Hiroyo Kanehako
Art Director: Hiroyo Kanehako
Production Company: Dentsu TEC, Tokyo
Director: Jun Kawanishi
Year: 2005
Silver Lion

10 – Esthe Wam Hair Removal – BEAUTY BOWLING
For women, being beautiful is about keeping challenging themselves. This ad shows the tragedy of a woman at a beauty championship who failed to take care of herself. It expresses how one single hair can divide the winner and the loser by using the game of bowling by communicating that their body would be perfect with Esthe WAM because they offer professional care during and after the treatment.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yuya Furukawa
Copywriter: Moto Takagi
Art Director: Masahide Yoshimi
Production Company: Tohokushinsha Film Corporation, Tokyo
Director: Masahiro Takata
Year: 2005
Bronze Lion