• It's Not Just About What's In the Can

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    The continuing rise in the popularity of craft brewing is great for beer lovers, but it’s just as refreshing for design lovers. Many of the small brewers seem to put as much thought into what's on the can or bottle as what's in it, knowing what a big role the brand image plays in their marketing. And instead of doing their design in house or just finding someone local, even small upstart operations are seeking our prominent designers to craft their look.

    Here's a recent example from Roaring Fork Beer Company in Carbondale, Colorado. They make the beer, but the look is from Brett Stiles of Austin, Texas.

    See more of Brett’s work here:
    http://brettstilesdesign.com/

    And more about the beer:
    http://roaringforkbeerco.com/

  • Behind the scenes of Pepsi's Unbelievable Bus Shelter.

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    From our partners at the London Egotist comes this interesting piece on an innovative Pepsi OOH project:

    Gary Lathwell and Richard Peretti are the team at AMV BBDO behind Pepsi's Unbelievable Bus Stop - as well as other executions in the campaign.

    We caught up with them and asked them to give us a bit of background on how the idea came to fruition.

    "As part of our new Pepsi Max campaign, we were tasked to create an unbelievable experience in a public place. The daily commute is one of the most uneventful moments in people’s day and we wanted to change that. Working with OMD and Talon Outdoor we created a first-of-its-kind augmented reality 6-sheet in a bus shelter."

    "A high definition screen displayed a live video feed from an HD webcam mounted on the opposite side of the bus shelter. 3D animations and video were then created at the same perspective as the street and were activated over the live feed. Everything bedded in perfectly to sell the illusion."

    "The public’s reaction has been amazing. The film of the stunt received over 4 million hits in its first week and people are still flooding down to New Oxford Street to check it out for themselves.

    Early concept artEarly concept art

    "Creatively our biggest challenge was how we used the environment outside of the shelter. As you can see from our scamps, we needed  to consider what elements of the street we could use to our advantage. It was a lot of fun coming up with random stuff to shock Londoners, and with a brief like ‘make it unbelievable’ anything goes."

    "Technically, we were worried that the live feed might not match the outside world. Luckily everything lined up perfectly to sell the illusion."

    From the reaction this campaign has had already, it looks set to clean up at the next round of award shows. Great to see a big brand embracing technology, aligned with a great idea.

    We also came across this bus shelter idea from Adobe. Pretty smart too:

    Read more about the latest in UK advertising:
    http://www.thelondonegotist.com/


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  • Fuck the Poor

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    Yeah, You Read That Right

    A new spot for London's Pilion Trust, created by Publicis, is actually a compelling social experiment that shows that people care about the poor. But maybe not in the best way.

    Via www.thelaegotist.com/

  • Former Saatchi/Asia ECD Joel Clements Lands at McGarrah Jessee

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    Former ECD Thailand and Asia Regional Creative Director Calls Austin Home Now

    Joel Clement, who has worked as both an art director and copywriter in a career that has spanned half the globe, is calling Austin and McGarrah Jessee his new home, where he will focus primarily on writing.

    Clement joins McGarrah Jessee after eight years with Saatchi & Saatchi in Bangkok, where he served as Executive Creative Director as well as Regional Creative Director for all of Saatchi & Saatchi Asia, which includes offices in Vietnam, the Philippines, Indonesia, Malaysia, India and Singapore. While at Saatchi Joel worked on brands such as Guinness, Electrolux and Procter & Gamble.

    Saatchi was not Clement's only stop in Asia. He also worked at TBWA/Thailand and in the Bangkok office of O&M, where in 2000 he won Asia's only Cannes Lion, one of eight he's helped land in his career. He also spent time at BBH in Singapore where he worked on Levis for the Japanese market.

    Other stops in Joel’s career include two stints with San Francisco’s Goodby Silverstein & Partners, from 1997–2000 and again from 2002–2003, working on Nike and HP, for whom he won the $100,000 Athena Award and Campaign of the Year from Creativity. At Goodby, Clement also won the prestigious Marget Larsen Award for art direction in his first year at the agency.

    Joel began his advertising career at DeVito/Verdi in New York after graduating from Keene State College in Massachusetts and the School of Visual Arts in New York. He also spent time in Minneapolis at both Carmichael Lynch and Fallon.

    Before returning to the U.S., Joel considered a number of options. “Repatriating to the U.S., I had a pretty specific ideal in mind,” he said. “I wanted to be part of an independent shop for the creative license it would afford, and I wanted to be part of an agency with a strong positive culture. I found it all at McGarrah Jessee.”

    Clement is no stranger to Austin. In 2010 he took time off from advertising to take an intensive course in architecture at the University of Texas. He then used what he’d learned as part of the team that oversaw the re-birth and design of the Saatchi & Saatchi office in Bangkok, creating a much talked-about and highly collaborative space. He’ll find that appreciation for architectural design welcome at McGarrah Jessee, which recently restored a 1950s bank building into their mid-century modern Austin headquarters.

    Clement will also find a large group kindred spirits who have left noted agencies to come to McGarrah Jessee. Among the 110-strong staff at McJ are other alumni of Goodby and BBH, plus agencies such as Crispin, BBDO, DDB, Leo Burnett, The Martin Agency, Anomaly, Strawberry Frog and Austin neighbor GSD&M.

    “We’re fortunate to find someone with the depth and breadth of experience and talent that Joel brings,” said agency co-founder Mark McGarrah. “We don’t care how far we have to go to find people like him.”

  • Snickers Takes "You're Not You" Campaign in Different Direction

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    Snickers has had a good run with it's "You're Not You When You're Hungry" campaign, especially with their clever use of celebrities, like Betty White and Richard Lewis. In Australia, at least, they're moving beyond celebrities, in this case construction workers (more accurately, actors pretending to be construction workers) and a stunt filmed live, not a traditional TV spot.

    From David Gianatasio at Adweek

    Australian construction workers simply aren't themselves in this amusing stunt from Clemenger BBDO in Melbourne. In fact, they're actors who shout empowering statements to women on the street in a real-world extension of Snickers' "You're not you when you're hungry" campaign.

    Instead of sexist catcalls, the hardhats yell, "I'd like to show you the respect you deserve!" and, "A woman's place is where she chooses!" Best of all: "You know what I'd like to see? A society in which the objectification of women makes way for gender-neutral interaction free from assumptions and expectations."

    According to Snickers exec Brad Cole, "There were a few nervous moments while we were filming the reactions, but the public took the experiment in the spirit in which it was intended—to charm and amuse them."

    There is, of course, a negative way to interpret this execution. By saying blue-collar guys "aren't themselves" when they're being polite, it pretty clearly implies they're otherwise a bunch of misogynistic boors. This seems to be more of an insult to guys than women, but it's still rubbing some the wrong way, like this YouTube commenter:
    "So wait, men are only respectful and decent human beings when they're 'not being themselves'? Men should eat a snickers to 'be themselves again' so that they can be sexist, ignorant douchebags that harass women? Great, Snickers. This kind of sexist perpetuation of masculinity is just what our world needs. "

    And see the original story here:
    http://www.adweek.com/adfreak/construction-workers-yell-messages-empower...

  • Now Hiring: UI/Visual Designer - Spiceworks

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    Spiceworks, Austin is hiring: UI/Visual Designer. Please Note: You must become a member to see jobs posted within the last three days.

  • Avoid Humans at SXSW? Good Luck, But You Have Help

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    GSD&M Develops App to Find Respite From the Masses

    Probably the biggest complaint about SXSW Interactive is that it’s just too crowded. A victim of its own success, perhaps. So many sessions have been so oversubscribed in recent years that the festival has instituted a sort of reserved seating system, which unfortunately looks like a slapdash solution to a real problem. And even if it works, you’re still looking at crowded restaurants, even-worse-than-normal traffic and good luck getting into most bars, much less getting close enough to order a drink.

    GSD&M, the local ad giant, has developed a way to let attendees get far from the madding – and most definitely maddening – crowds with an app called Avoid Humans (www.avoidhumans.com). Click the button and you get a list of (hopefully) quiet locales in four categories: nightlife, food, coffee and refuge.

    Listings are color coded:
    Green—comparable to the number of vegans at Franklin Barbecue.
    Yellow—like a 3:00 a.m. food truck burrito, proceed with caution.
    Red—more crowded than a UT football game when the UT football team was good. (Descriptions courtesy of GSD&M).

    The app benefits from a sleek design, clever copy and an easy-to-use interface. Credits for all of that are below. It uses Foursquare check-in data, so you’ve got to hope that people are still using Foursquare. But when you’re staring at an hour-long line for your morning coffee, you’ll be glad to have the assistance.

    Executive Creative Director: Jay Russell
    Group Creative Directors: Scott Brewer, Ryan Carroll
    Producers: Amy Torres, Spencer Gilliam
    Writer: Matt Garcia
    Art Director: Kevin Taylor
    Project Manager: Alicia Ross
    Experience & Insights: Elizabeth Thompson, Rye Clifton
    Information Architect: Soli Moshfeghian
    Developers: Rajkumar Kuppusamy, Kim Faulkner

  • 'Creatures of Adland' - what a strange and mysterious bunch we bastard-well are.

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    We've all seen them; huddled together for safety or intimidation. Great flocks of suits shoulder-surfing on a junior designer or a group of young creatives eating their microwaved lunchtime soup, plotting against, well, everyone.

    Creatures of Adland is the brainchild of London creative team, Adrian Flores and Jana Pejkovska with the aim of landing the perfect collective noun for every breed of adland animal.

    "As we sat watching a group of suits milling around outside a meeting room, we got to thinking about what the correct term was for a group of suits. Was there an interesting collective noun like animals have, a la ‘a murder of crows'?"

    "Well, enough is enough. Enter the Creatures of Adland (http://creaturesofadland.tumblr.com/).

    Never more shall we want for a catchy title when we spy groupings of Creative Directors, Account Managers or Planners."

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