Welcome to ROACHVILLE from TBWA Johannesburg
Posted: February 8, 2013 Filed under: Ambient, Case History, Guerilla, Installation, Press/Outdoor, South Africa | Tags: Adam Livesey, Ambient, Case History, cockroaches, doom fogger, funny, installation, Matthew Bring, TBWA, TBWA/Hunt/Lascaris, welcome to roachville Leave a commentTBWA Hunt Lascaris Johannesburg’s brief was to conceptualise an outdoor campaign that illustrates that Doom Fogger gets into every nook and cranny, killing insects before they get too comfortable. Using cracks on outdoor walls, they created a make-believe world, showing cockroaches in different environments. This was achieved by creating miniature furniture and using actual cockroaches to depict real life scenarios inside the cracks.
Advertising Agency: TBWA, South Africa
Executive Creative Directors: Matthew Bring, Adam Livesey
Creative Director: Justin Wright
Art Director: Sifiso Nkabinde
Copywriter: Thokozani Mashigo
Agency Producer: Sharon Cvetkovski
Account Manager: Vanessa Maselwa.
Production: Birthmark
Director of photography: Rowan Cloete
Producer: Matthew Durant
Year: 2012
TBWA/Berlin for adidas – A Giant Case History
Posted: December 28, 2012 Filed under: Agency, Ambient, Awards, Cannes Lions, Case History, Event, Germany, Guerilla, Installation, Press/Outdoor, Sportwear | Tags: adidas, Ambient, Boris Schwiedrzik, Cologne Central Station, Emiliano Treierveiler, Erik Gonan, football fresco, Germany, Guerilla, Helge Bloch, Hendrik Scweder, impossible goalkeeper, impossible huddle, Impossible is nothing, Kurt-Georg Dieckert, Marco Bezerra, Oliver Kahn Bridge, Outdoor, Petr Cech, Prater ferris wheel, Stefan Schmidt, TBWA, UEFA, Zurich's Central Station Leave a commentIMPOSSIBLE GOALKEEPER
Just before the start of the UEFA Euro 2008 football tournament, adidas turned one of Vienna’s best-known landmarks, the Prater ferris wheel, into a huge image of the Czech national goalkeeper, Petr Cech. At a whooping 53m tall, this gigantic installation was visible far beyond the Prater entertainment park and the nearby public viewing sites. In the installation, Cech had eight arms that constantly rotated with the ferries wheel. The erection of the metal construction started on May 13 and was finished just before the launch of the tournament on the night of June 5, 2008. This advertising landmark also hosted the official adidas press conference prior to the tournament.
Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt
Creative: Marco Bezerra, Emiliano Treierveiler
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OLIVER KAHN BRIDGE
If you travelled to Munich for the first game of the FIFA World Cup in 2006, chances are you saw this huge installation, which shows an enormous Oliver Kahn (the then German national team goalkeeper) diving across the motorway. The 65-m installation managed to bypass the law forbidding advertising on the German Autobahn, and was the only piece of advertising adidas conducted in Germany during the tournament. Over 4 millions people commuted through the installation and many more saw it in the press. In its first week the Oliver Kahn bridge was displayed on double-page spreads in leading magazines including Focus, Stern, Autobild and Fortune. It was also picked up by newspapers including the New York Times and the Financial Times.
Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Kurt-Georg Dieckert
Creative: Helge Bloch, Boris Schwiedrzik
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IMPOSSIBLE HUDDLE
For the duration of the UEFA EURO 2008 football tournament, TBWA/Berlin transformed the main hall of Zurich’s Central Station into a large-scale celebration of team spirit. Eleven European football players (all sponsored by adidas, naturally) formed the Impossible huddle. The bodies of the footballers represented were 3D-scanned as were their faces and hairstyles, to ensure that the sculptures were faithful to the originals. It took 40 trucks to move the installation components from the production sites in southern Germany to Switzerland, where they were assembled in the station.
The Swiss rail authority reported that an estimate 13 million people passed through the station during the three-week period the sculptural installation was in site, and at 17m high and approximately 30m wide, it was impossible to miss. Add to this the fact that various news titles such as the Financial Times, Die Welt, Gazzetta dello Sport, Le Parisien and the BBC featured the campaign on their front pages or online editions, plus the fact that it was picked up by dozens of blog worldwide.
Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Markus Ewertz
Creative: Erik Gonan, Hendrik Scweder
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FOOTBALL FRESCO
During the German-hosted 2006 FIFA World Cup, adidas wanted to get across the message that they cooperate with the best football players on the planet. Rather than run a traditional poster campaign, the creatives at TBWA/Berlin decided it would be far more impressive to create a huge Renaissance-style fresco on the ceiling of the main lobby of Cologne Central Station. Within minutes of the fresco’s unveiling, it was featured on national German Television and press covered it throughout the World Cup. More than 8.5 million people saw the frersco in the flesh during the course of the tournament.
Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Kurt-Georg Dieckert
Creative: Helge Bloch, Boris Schwiedrzik
Monopoly in advertising
Posted: December 11, 2012 Filed under: Ambient, Awards, Chile, Cliché, Germany, Guerilla, Installation, Portugal, Press/Outdoor, Singapore, Spain, USA | Tags: a real game, advertising, Ambient, DDB Spain, Donald Trump, funny, Germany, Grey Chile, Guerilla, JWT, Monopoly, Own it all, Paris Hilton, TBWA Leave a commentMonopoly – New York/London/Madrid
Advertising Agency: DDB Spain
Year: 2005
Monopoly – “Own it all” Campaign
Advertising Agency: JWT Frankfurt
Year: 2009
Monopoly – A Real Game
Advertising Agency: DDB Madrid
Year: 2008
Monopoly – Mansion/Jail
Advertising Agency: Grey Chile
Year: 2007
Monopoly – Be careful where you land
Advertising Agency: TBWA Singapore
Year: 2007
Monopoly – Building Branding
Advertising Agency: DDB Lisboa
Year: 2006
Monopoly – Barcelona Edition/New York Edition
Advertising Agency: DDB Madrid
Year: 2006
Monopoly – Before/After Campaign
Advertising Agency: Grey Chile
Year: 2006
Monopoly – The Here & Now Edition
Advertising Agency: Grey New York
Year: 2009
Monopoly – “Be a Player” Campaign
Student project by Alexandra George and Candice Countryman.
Year: 2011
Monopoly – Ambient
Student project by Miami Ad School, Madrid
Year: 2010
Nissan Juke – Built to Thrill (behind the scene)
Posted: March 22, 2012 Filed under: Car, Case History, Press/Outdoor, TV/Film, UK | Tags: Alasdhair Macgregor Hastie, behind the scene, Built to Thrill, Car, jumps ramps, Lieven Van Baelen, Mikros Image, Nissan Juke, scuba dives, skydives, TBWA, TV/Film, UK Leave a commentThe new, integrated ad campaign for Nissan, which launches in Europe in March 2012, reflects the adrenaline junkie inside anyone who enjoys getting behind the wheel of the Juke.
A 60-second television spot heads the extreme sports-themed campaign from TBWA\London, named “Built to Thrill”, which conveys the high-energy of the sporty Nissan model and features a driver’s car built around him as he performs just about every daredevil stunt known to man. The Juke is shown being assembled by a variety of people as it skydives, jumps ramps and scuba dives before emerging out of a tunnel, set to a musical backdrop, composed by ‘The Horrors’.
The spot was shot in South Africa with most of it as live action. “We first had a guy skydive with a fake car seat strapped to his body inside which was his parachute,” explains Alasdhair Macgregor Hastie, European Creative Director, TBWA\G1.
“The guys building the car in mid air were tied to a crane hanging 100 metres above the ground and we model-made the heavier car parts in the art department. The landing scene was shot outside Cape Town and again, we used a crane to drop the car body onto the ramp, which was all real. We then built the stadium in post. The scene featuring the bikers is also all real and we had stuntmen jumping from bikes and hanging on to the roof of the car. The water scene was shot in a pool, with real divers. Nobody got hurt – although it aged me ten years!”
Alasdhair says the ad was “very” expensive to make, “but worth every cent.”
“Unlike all other car brands Nissan (and Infiniti) has a very talented core Marketing, Advertising team and a central agency to handle all comms for Europe, Russia, and other regions so the budgets are centralised and therefore more efficient. Instead of doing 5 different campaigns to launch a car, we only do one. Which is more cost effective and gives us access to top talent.”
Building a skydiving car looks surprisingly easily in this Nissan Juke TVC directed by Lieven Van Baelen, with visual effects by Mikros Image. At Mikros, Christophe Huchet was VFX producer, with Antoine Carlon and Laurent Creusot acting as VFX shooting supervisors as well as CG lead and 2D/Flame artist, respectively. We talk to the studio about the ad’s main challenges.
The spot begins with an intrepid driver jumping out of a plane and buckled into a car seat. Soon enough, he is positioned into a car body by skydivers, who get to work – mid-air of course – adding a roof, tires, engine and steering wheel. These plates were filmed against bluescreen with the parachutists and car suspended on wires and the action following detailed storyboards.
“There were two cameras on the set (in South Africa),” says Christophe Huchet, VFX producer of Mikros, “one was with a cameraman standing on track or on a cradle and the other one on a remote jointed arm controlled by three operators. There were a lot of wires to clean up as there were up to nine parachutists shot at the same time. Each of them was hung by four wires plus the car. We had to deal with ‘restore’ on their faces and clothes. We completed an urban matte painting behind the clouds for high-angle shots. To add realism to the shot, we had to add cameras shakes and vibrations to simulate a real skydive, inspired by real shots references.”
Mikros also created CG parachutes for the skydivers, before the half-finished vehicle drops safely in a stadium – landing on a ramp as motor-cross riders add panels and spray paint a red finish. The stadium was populated using Golaem Crowd geometry instancing, generating up to 12,000 spectators at a time. Clothes, shaders and motions for the animated digi-double crowd were established in Maya, with a particle system used to place characters in seats. Mikros then built its own procedural rendering plug-in for Arnold based on a beta version of the Golaem Crowd IO library to render the scenes.
The nearly formed Nissan Juke launches out of the stadium via another ramp and splash-lands in water. Here, scuba-divers secure a windscreen and finishing touches before the car enters a tunnel. Filmed in a tank, Mikros graded the car for readability and added digital bubbles.
Finally, the Juke exits a tunnel before continuing into the city. The tunnel did not exist, so a make-shift surrounding for the car was built at street-level and filmed with tracking markers. “That shot was pretty difficult to tune as there were two opposite camera directions,” says Mikros. “The car is coming towards us and the camera is going the other way. We had to do some research to find a speed that suited the director. We also paid attention to light as the crossover is coming out of a tunnel and is going from dark to light. During the shooting, a truck rode along the crossover with many spotlights to light the car properly.”
The campaign also includes an art installation that aims to show off the Juke as it is being assembled using a variety of sports equipment that inspired its design. A dune buggy (originally chosen for its high arched wheel design) and a motorbike (the inspiration for the interior design and console) are combined to build a 3D image of a Juke. The car seat fabric was inspired by neoprene wet suit material, while a canoe and snowboard are also featured to appeal to the Juke’s target excitement-seeking audience.
“We originally planned to have a travelling installation and may well do so,” says Alasdhair. “The campaign is being picked up by countries not originally interested in a Juke flight (Canada airs it at the end of March) because it is so impactful and brings a whole new perspective to Nissan and the way people see the brand. When we showed the TVC to the Nissan board, the head of Design pointed at the screen and said ‘That’s it, that’s my car!’.”
Nissan and TBWA have also released behind the scenes footage showing how the installation was brought together. This film will also be accessible via QR codes on the outdoor and print executions of the campaign.
“The focus on human emotion plays into the new strategy,” says Ewan Veitch, President of TBWA\G1.“Previously, communications have concentrated on the car and how it interacts with its environment. This campaign has been developed to communicate the excitement and thrill that the driver gets from a premium and high performance, yet accessible, model. ‘Built To Thrill’ celebrates both the truth of the car’s design DNA and the resultant excitement from owning and driving one.”
“Built to Thrill” will also be supported by retail, social media, digital and experiential activity.
Advertising Agency: TBWA/G1, London
Creative Director: Alasdhair MacGregor-Hastie
Creatives: Fabio Abram & Braulio Kuwabara
Director: Lieven Van Baelen
FX: Mikros
Composer: The Horrors
Year: 2012
Eurobest (1991/2010) – 20 years of Grand Prix
Posted: November 30, 2011 Filed under: Awards, Car, France, Germany, Italy, Legendary, Press/Outdoor, Spain, Sweden, The Nederlands, TV/Film, UK | Tags: 20 years of Grand Prix, bear, carousel, cops, Creek, elephant, Epuron, Eurobest, H&M, Häagen-Dazs, john west, karl lagerfeld, Leo Burnett, Levio's, Michael Jordan, Nike, Playstation, Polo, power of wind, rolo nestle, safety on board, samsonite, st george, Sumo, tango, TBWA, the sculptor, Waterboy, Wieden+Kennedy, write the future Leave a commentGrand Prix 1991 – SUMO/Levi’s Jeans
Advertising Agency: McCann-Erickson, Milan
Grand Prix 1992 – MICHAEL JORDAN/Nike
Advertising Agency: Simons Palmer Denton Clemmow & Johnson, London
Grand Prix 1993 – MELT TOGETHER/Häagen-Dazs
Advertising Agency: Bartle Bogle Hegarty, London
Grand Prix 1994 – CREEK/Levi’s Jeans
Advertising Agency: Bartle Bogle Hegarty, London
Grand Prix 1995 – ELEPHANT/Rolo Nestlè
Advertising Agency: Lintas, Amsterdam
Grand Prix 1996 – MUSEUM/Centraal Beheer
Advertising Agency: DDB, Amsterdam
Grand Prix 1997 – ST GEORGE/Blackcurrant Tango
Advertising Agency: HHCL & Partners, London
Grand Prix 1998 – SAFETY ON BOARD/Samsonite
Advertising Agency: TBWA\Campaign Company, Amsterdam
Grand Prix 1999 – WEDDING/Volkswagen Polo
Advertising Agency: BMP DDB, London
Grand Prix 2000 – LARA CROFT/Sony Playstation
Advertising Agency: BDDP@TBWA, Paris
Grand Prix 2001 – BEAR/John West
Advertising Agency: Leo Burnett, London
Grand Prix 2002 – THE SCULPTOR/Peugeot 206
Advertising Agency: Euro RSCG, Milan
Grand Prix 2003 – COPS/Volkswagen Polo
Advertising Agency: DDB London
Grand Prix 2004 – WATERBOY/Evian
Advertising Agency: BETC Euro RSCG, Paris
Grand Prix 2005 – KARL LAGERFELD FOR H&M/H&M
Advertising Agency: RAF, Stockholm
Grand Prix 2006 – TEAR/Audi RS4
Advertising Agency: DDB España, Madrid
Grand Prix 2007 – POWER OF WIND/Epuron
Advertising Agency: NORDPOL+ Hamburg
Grand Prix 2008 – DOG/Volkswagen Polo
Advertising Agency: DDB London
Grand Prix 2009 – CAROUSEL/Philips TV 21:9
Advertising Agency: Tribal DDB Amsterdam
Grand Prix 2010 – WRITE THE FUTURE/Nike
Advertising Agency: Wieden+Kennedy, Amsterdam
Häagen-Dazs – Tasty Stamps
Posted: August 4, 2011 Filed under: Cannes Lions, Case History, Direct, Germany, Promotion | Tags: Cannes Lions, Case History, Direct, free specially-designed stamps, Germany, Häagen-Dazs, let your tongue travel, Promotion, tasty stamps, TBWA 2 CommentsObjective
Create a campaign that will reward loyal Häagen-Dazs customers in the Häagen-Dazs Cafés and stimulate repeat purchases. The campaign must communicate the basic proposition: Let your tongue travel.
Development
Let your tongue travel. That is the Häagen-Dazs claim. Now with the new Häagen-Dazs tasty stamps, you can literally send your favorite taste sensation on a journey. These genuine Austrian postal stamps taste of Choc Choc Chips, Panna Cotta & Raspberry, Cookies & Cream, Macadamia Nut Brittle or Strawberry Cheesecake. Each flavor is assigned to a specific stamp motif. There were 5 motives in all. Loyal customers who bought 10 scoops of Häagen-Dazs ice cream were rewarded for their pleasure! They received free specially-designed stamps and postcards, enabling them to send their favorite flavours as a greeting.
Relevance
The campaign was scheduled to last for one month. But at the two-week halfway mark, the stamps were already out of stock at the participating Häagen-Dazs locations.
Outcome
Product sales almost doubled within this short period of four weeks.The campaign was scheduled for a month. But at the two-week halfway mark, all 12,000 booklets were already out of stock at the participating Häagen-Dazs stores in Austria. And: Product sales almost doubled within this short period.
Advertising Agency: TBWA\ Germany
Creative Director: Dietrich Zastrow
Art Director: Kirsten Frenz
Copywriter: Susanne Thomé
Playstation 2/Forbidden Sirens 2 – Ghost Photos
Posted: July 27, 2011 Filed under: Cannes Lions, Case History, Direct, Germany, Promotion | Tags: Cannes Lions, Case History, Direct, Dirk Henkelmann, forbidden sirens 2, Germany, Ghost photos, Philip Borchardt, pictures of horror, Playstation, Promotion, TBWA 1 Comment
The brief was to develop a promotion for the new PlayStation2 game “Forbidden Siren II” at the Games Convention 2006 in Leipzig as well as generate traffic for the Forbidden Siren II Homepage.
Snap shot cameras were developed for the Games Convention and distributed by hostesses. From the outside the camera was only branded with the PlayStation Logo, but the film inside the camera made this promotion an action to remember. On every picture taken, ghosts and frightening faces appeared on the pre-exposed film. The last picture revealed the mystery with the line: “The Horror is closer than you think. Forbidden Siren II. Out now for PlayStation2.”
Only a few days after the Games Convention the click rate on Forbidden Siren II Homepage tripled. Photos from the cameras started to appear all over the web. Some cameras made it into eBay as cult objects. The press reported in detail about the “new advertising medium”.
Advertising Agency: TBWA/Germany
Creative Director: Dirk Henkelmann/Philip Borchardt
Copywriter: Friedrich Tromm
Art Director: Leila El-Kayem
Lego (1981/2011) – Builders of Creativity
Posted: July 19, 2011 Filed under: Brazil, Cannes Lions, Case History, Chile, Direct, France, Germany, Guerilla, Legendary, Malaysia, Press/Outdoor, Promotion, Russia, Singapore, South Africa, TV/Film, UK, USA | Tags: 1981, ADVANCE, Alex Schill, Alvin Teoh, Andy Greenway, Anselmo Candido, Arno Lindemann, BBH, Bernhard Lukas, box, Brazil, brick, brick thief, Bruce Hopma, builders of creativity, builders of tomorrow, Cannes Lions, Charles C. Ebbets, control, Copenhagen, costruction site, create the impossible, crocodile, David Mitten, Dean Hacohen, Direct, DM9, Escola Cuca, FCB Johannesburg, fomous children, Gary Goldsmith, Gavin Simpson, Germany, Gran Prix, Jacques Denain, John Hegarty, Jung von Matt, JWT, Kipper, Lego, Leo Burnett, Lowe, Lunch atop a Skyscraper, Nicolas Dume, Nizan Guanaes, Ogilvy & Mather, Oliver Palmer, Outdoor, Pereira & O'Dell, periscope, Polyplaypylene, Press, Propaganda, Robert Gaxiola, rubik cube, Saatchi & Saatchi Singapore, San Francisc, santiago, Serviceplan, spaceship, star wars, street building, TBWA, tractor, TV/Film, violence, words puzzle 2 CommentsKIPPER
An extremely clever ad — one from your childhood. A slightly surreal look at all the things you can make out of a box a Lego. Narrated by Tommy Cooper, a battle ensues between a mouse which, when threatened by a cat, turns into a dog. The cat turns into a dragon and so on, to a submarine and a submarine-eating kipper. The submarine eventually morphs into an elephant, the mouse rebuilds and the elephant faints. Lego: It’s a new toy every day — just like that!
Agency: TBWA London
Creative: Mike Cozens; Graham Watson
Director: Ken Turner
Production: Clearwater Films
Producer: David Mitten
Director of Photography: Tom Harrison
Editor: Patrick Udale
Year: 1981
Grand Prix
FAMOUS CHILDREN
Lego representations of famous people: a dinosaur (Spielberg), a bed (Madonna), a football (Pele), windows (Bill Gates), a man levitating (David Copperfield), a broken man (Mike Tyson).
Agency: DM9 Publicidade
Creative Director: Nizan Guanaes
Copywriter: Nizan Guanaes
Production Company: Jodaf/Joao Daniel Film
Director: Joao Daniel Tikhmoiroff
Year: 1995
Gold Lion
BRAIN
Agency: JWT Publicidade
Creative Director: Anselmo Candido
Copywriter: Ricardo Adolfo
Art Director: Miguel Coimbra
Photographer: Chico Prata
Year: 1998
Bronze Lion
BOX
A group of officials arrive at the house of an ordinary boy to discover that he’s created something extraordinary, which he keeps in a box. All ideas start with imagination.
Agency: BBH
Creative Director: John Hegarty
Copywriter: Roger Beckett
Art Director: Andrew Smart
Photographer: Gorgeous Enterprises
Director: Frank Budgen
Year: 1999
Bronze Lion
SHELF
Headline: All toys, in one
Agency: DPZ Propaganda
Creative Director: Jose Zaragoza/Carlos Rocca
Copywriter: Giovana Madalosso
Art Director: Janaina Pergira
Photographer: Lucio Cunha
Year: 2002
Shortlist
WALL
Headline: The power of the brick
Agency: Lowe, New York
Creative Director: Gary Goldsmith/Dean Hacohen/Bruce Hopman
Art Director: Elizabeth Maertens
Year: 2002
ARROW/HAND
Headline: The most interactive toy.
Agency: DPZ, San Paulo
Creative Director: Carlos Silverio/Francesco Petit
Copywriter: Roberto Kilciauskas
Art Director: Fernanda Fajardo
Photographer: Marcel Vieira
Year: 2004
Shortlist
STREET BUILDING
Agency: Ogilvy & Mather Santiago
Creative Director: Cesar Agost Carreno
Copywriter: Felipe Manalich
Art Director: Sergio Iacobelli/Sebastian Alvarado
Photographer: Juab Carlos Sotello
Year: 2005
Grand Prix (Outdoor Lions)
PERISCOPE/CAT
Agency: FCB Johannesburg
Creative Director: Bret Morris
Copywriter: Lance Vinning
Art Director: Lance Vinning/Charles Foley
Photographer: Gerard Turnley
Year: 2006
Grand Prix (Press Lions)
FIRE STATION/HANGAR/TRAIN STATION
Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Dean Zillwood/IDC
Year: 2006
Silver Lion for the campaign (Press)/Bronze Lion for the campaign (Outdoor)
BOX
Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Sam & Boomerang
Year: 2006
Shortlist
COSTRUCTION SITE
LEGO wanted their communication to focus more strongly on the core product: the basic blocks. And at the same time, they still wanted to inspire children of all ages and to stimulate creativity and innovation.
Innovative Media Strategy
Construction sites are normally very boring and makes the surroundings ugly. But by turning the containers placed there into giant LEGO blocks it gave consumers a surprise, making their everyday life a bit more colourful and creative. They could “play on” themselves and start imaging how to build on. As one consumer said: “I was just standing there, waiting for a giant boy to come and build”. The media became the talk of the town. Even the Mayor of Copenhagen was proud of what it did to the city and praised it in several newspapers and television.
Engaging Creativity
LEGO is known for stimulating creativity. Transforming containers on construction sites across the country into giant, colourful LEGO blocks confirmed this for the consumer. And with no logos it also became a pleasent surprise in their everyday life. Was it and ad or wasn’t it? Nobody doubted that LEGO was the brand behind it though.
Encompassing the Audience
By turning containers into outstanding giant LEGO blocks it gave consumers a big surprise, making their everyday life more colourful and creative. In several weeks, the LEGO blocks became the talk of the town.
Effectiveness
– Massive media coverage in more than 20 national newspapers and magazines, national television and radio
– City mayors praising the project
– Hundreds of thousands consumers travelling by the blocks led to maximum awareness on the communication goal.
Art Director: Kenneth Opsund
Year: 2006
ShortlistCOSTRUCTION
Creative Director: Rodrigo Gomez/Michael Angel Cerdeira
Copywriter: Rodrigo Figueroa
Art Director: Michael Angel Cerdeira
Year: 2006
ShortlistBUILDERS OF TOMORROW
Agency: JUNG Von MATT, Hamburg
Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
Year: 2007
Gold LionPLANE/DINOSAUR/BOAT/TANK
Agency: Blattler Brunner, Pittsburg
Creative Director: Jay Giesen/Dave Kwasnick
Art Director: Derek Julin
Year: 2007
POLYPLAYPYLENE
Like no other toy, LEGO is a symbol of fun and creativity. To mark the fiftieth birthday of LEGO in Germany, the idea was to rekindle media representatives’ and LEGO partners’ excitement for LEGO with a high-quality mailing.
LEGO fan and designer Reginald Wagner conceived, designed and photographed his personal LEGO memories with a pinhole camera to keep them from fading. The book’s format is adapted from the form of an individual LEGO brick. The book cover and the flipside are made of real LEGO plates. Journalists were sent the book and could put their name on the cover and share their memories with the designer.
Explain why the method of promotion was most relevant to the product or service.
The title of the book POLYPLAYPYLENE means “plastic that has been played with often” and that’s precisely what this book is about. Endless imagination, an endless number of construction combinations and stories from the LEGO worlds: towns, castles and space.
Describe the success of the promotion with both client and consumer including some quantifiable results.
The first, exclusive edition is out of print; the feedback was overwhelming. A paperback edition of “Polyplaypylene” is currently in print for wider circulation.
CONTROL
Executive Creative Director: Sebastian Alvarado/Nicolas Lopez
Copywriter: Felipe Manalich
Art Director: Felipe Manalich/Sebastian Alvarado
Year: 2008
Shortlist (Press)/Shortlist (Outdoor)RUBIK’S CUBE/BRICK
Creative Director: Jan Rexhausen
Art Director: Keat Aun Tan
Photographer: Keat Aun Tan
Year: 2008
ShorlistWALL/TANK/ALI
Creative Director: Fabien Frese/Daniel Frericks/Gotz Ulmer
ShorlistDRUG/SEX/VIOLENCE
Creative Director: Alvin Teoh
ShorlistDRAGON/PIRATES/SPACESHIP
Creative Director: Richard Copping/Andrew Pech
CREATE THE IMPOSSIBLE
LEGO STAR WARS
CATERPILLAR/MONSTER/WHALE
ACCOUNTANT/ELECTRICIAN/ENGINEER
SPACESHIP/BEETLE/DEEP OCEAN EXPLORER
Agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Year: 2011
Gold Lion for the campaign
BRICK THIEF
Agency: Pereira & O’Dell, San Francisco
Executive Creative Director: PJ Pereira
Creative Director: Kash Sree
Copywriter: Jaime Robinson
Art Director: Jason Apaliski
Production Company: Stimmung, Santa Monica
Director: Blue Source
Year: 2011
Shortlist
WORDS PUZZLE CAMPAIGN: CROCODILE/SPACESHIP/TRACTOR
Creative Director: Byron Balmaceda
Art Director: Gabriela Soto
Copywriter: Byron Balmaceda
Illustrator: Gabriela Soto
Year: 2011
BRICK Campaign
The ads appeared on four consecutive pages. LEGO is a company that has fostered imagination, invention and creativity for over 60 years. So it is unusual for these ads to feature only long copy with minimal imagery. However, upon reading each of these scenarios the ad comes to life in a way that is unique only to the reader and how they see these playtime scenarios in their mind’s eye. Typographic elements of kerning contrasted with tracking allow the reader to almost get lost in the copy selecting keywords for their imagination. The fourth ad in the series, “Yellow Brick” features a notepad with the tagline “Every LEGO brick tells a story. Build yours.”
Advertising Agency: Pereira & O’Dell, Brazil
Chief Creative Officer: PJ Pereira
Creative Director / Copywriter: Aricio Fortes
Creative Director / Art Director: Paulo Coelho
Account Executive: Lo Braz
Illustrator: Eduardo Gomes
Year: 2012