Cannes Lions 2009 - Çîëîòûå ïðèçåðû â íîìèíàöèè Design Lions

HAVAIANAS IDENTITY

Type of Entry: Corporate or Brand Identity Category: Corporate Identity Schemes - Large scale Title: HAVAIANAS IDENTITY Advertiser/Client: SÃ?O PAULO ALPARGATAS Product/Service: HAVAIANAS FOOTWEAR Entrant Company: ALMAPBBDO SÃ?o Paulo, BRAZIL Design/Advertising Agency: ALMAPBBDO SÃ?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 JoÃ?o Lineu Almapbbdo Art Director Renato Fernandez Almapbbdo Art Director Marcus Sulzbacher Almapbbdo Art Director JosÃc 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 experiencesâ?"from photos and videos, to music and text messagingâ?"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 Nokiaâ?Ts viNe site - 151,563 visits to the viNe site â?"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 â??meal assemblyâ?? 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: â??Food explorersâ?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 â??meal assemblyâ?? 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 didnâ?Tt want it to appear too â??charity-likeâ?? 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 Zimbabweâ?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 theyâ?Td never been able to buy â?" 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 Mugabeâ?Ts own creation against him.

ONION CALENDAR

Type of Entry: Corporate or Brand Identity Category: Calendars Title: ONION CALENDAR Advertiser/Client: WÃ?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. WÃ?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 wouldnâ?Tt do the job. Describe the brief from the client: WÃ?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 WÃ?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 WÃ?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 â??Colour of the Monthâ?? 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 worldâ?Ts biggest calendar. Each month has the â??Colour of the Monthâ?? 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 RecaudaciÃ?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 â??Moon viewingâ??. Therefore we focused more on the familiar side of it. The â??Moon viewingâ?? 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 â??Moon viewingâ??. A dot, used to resemble the moon, is featured in every page. The booklet contains â??Wolfman,â?? who turns into a wolf on the night of the full moon; â??Kaguya-himeâ?? (Moon Princess), an old Japanese fairy tale; and the â??The Space Rabbitâ??. 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 â?" 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 isnâ?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 â??undesignâ?? 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 metâ?"and exceededâ?"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-Colaâ?Ts innovation group wanted to revolutionize the vending experience by integrating a 46â??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 consumersâ?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 peopleâ?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 â??words have souls.â?? 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 targetâ?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 CHÃ%RIE

Type of Entry: Corporate or Brand Identity Category: Digital Design Title: MISS DIOR CHÃ%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 Cherieâ?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 Cherieâ?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 commercialâ?Ts making of, interviews and some surprisesâ?¦ 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, â??Dig! DM,â?? with a miniature digging tool inside (e.g, shovel or shovel car), inviting the recipient to bring it and â??dig into the world of creative ideas.â?? Describe the brief from the client: To design an exhibition for the OneShow 2008 in Japan. OneShow is one of the worldâ?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 â??dug upâ?? from around the world. Posters, pamphlets and panel display at the venue were based on the concept that â??coming up with brilliant ideas is as hard a job as finding gold (= Gold Pencil),â?? trying to capture the creatorâ?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 clientâ?Ts brief to the agency was to find a way to convince the â??havesâ?T of the city to contribute towards the education of the â??have notsâ?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. Itâ?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 didnâ?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 â??good evening teacherâ?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 â??Designâ?? 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 companyâ?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 â??Automotiveâ?? 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 BRÃ?CKNER Berlin, GERMANY Creative Credits Name Company Position Joachim Sauter Art/Com Creative Director Uwe BrÃ?ckner Atelier BrÃ?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 GrÃ?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 â??housesâ?? 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 â??parkedâ?? 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 chefâ?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'ORÃ%AL Product/Service: PERFUME Entrant Company: RAISON PURE Paris, FRANCE Design/Advertising Agency: RAISON PURE Paris, FRANCE Creative Credits Name Company Position SÃcbastien 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.