The beauty of this appeal by Oro Verde Rainforest Foundation is its humble low-tech innocence. It doesn’t smack of big budget glitz, high-tech digital manipulations, and pre-launch market testing. The idea is everything. Its charm is in its simple, direct, homemade look. A high school student could have produced it… but didn’t.
Actually, the campaign was created by ad giant, Ogilvy & Mather, in Frankfurt, Germany. Hand-written placards were posted on more than 600 trees in Germany and helped OroVerde raise cash donations by more than 27 percent. Read More »
Project K, a Korean Film Festival, has turned into a popular annual event at the Bockenheim campus at Goethe University in Frankfurt, Germany. Dubbed “Four Days in Seoul,” the festival is co-hosted by the Korean consul general of Frankfurt; KGN, an organization of second-generation Korean Germans, and the University’s Korean Studies Department. In addition to screening Korean box-office hits and experimental, shorts, animations and indie Korean films, the festival features activities that give students a chance to learn about Korean pop culture and traditions.
The credits for Elephant Gin read like a project conceived by the United Nations. Handcrafted by London Dry Gin, the product is distilled in Hamburg, Germany, using 14 botanicals including African ingredients like Devil’s Claw, Baobab and Wormwood. The packaging design by South African designer Simon Frouws was inspired by the pioneering spirit of early explorers in Africa. In keeping with the theme, the packaging design features a finely drawn map of South Africa and an old-fashioned cork label with a seal wrapped around the bottle neck with twine. Produced in small batches of 800 bottles, each batch is named after past great elephants or those that the group is committed to protect. The names are handwritten and numbered at the bottom of each label. Fifteen percent of the sales profits are donated to two African elephant foundations. Great packaging, good cause. Read More »
How do you grab the attention of jaded creative directors? By arousing their curiosity. In a campaign for Kontor, a dance music label in Germany, Ogilvy Deutschland developed a “Back to Vinyl” direct mail piece that used high-tech gimmickry to promote the new Boris Dlugosch release. Ad agency recipients got a large flat package that contained a vinyl record inside, instead of the usual CD or USB. The vinyl came with instructions to place the record on the printed turntable on the back of the envelope, then activate the QR code with a smart phone. Recipients could listen to the latest Dlugosch track and “move” the needle to play other tracks as well or to contact Kontor via the connect icon. Needless to say, the vinyl promo often became the talk of the office and didn’t get thrown away.
Two things to learn from this video: 1) No matter how fascinating the subject, nearly all videos benefit from a voiceover narrative and an appropriate soundtrack, both lacking here. 2) Although the term “industrial design” did not emerge until the 20th century, the design and engineering skills to produce incredible objects that utilized the principles of applied science and engineering existed long before then. Centuries before CAD systems and 3-D modeling devices, Abraham Roentgen (1711-1793) and his son, David (1743-1807), made ingeniously engineered and mechanically complex cabinetry that incorporated drawers that opened automatically at the touch of a button, hidden compartments, and drop-down writing surfaces – all behind elegantly decorated panels. This walnut-veneered masterpiece was commissioned by King Frederick William II of Prussia in the late 18th century and is housed today in the Kunstgewerbe museum in Berlin.
We are not sure where the nautical theme originated, but the anchor that serves as an ampersand in the John & John logo implies that there is some sailing connection. This may have inspired The Peter Schmidt Group in Hamburg to design packaging that subtly suggests the geometric shapes of maritime flags. The handcooked potato chips are made in the UK and imported to Germany by Hamburg-based Market Grounds. Each chip flavor is identified by a bold black number, so that even if German consumers can’t recall which flavor they like, they can recognize it by number. The prominent numbers also serve to brand the entire John & John potato chip line, giving the brand greater store shelf presence. They also make it easy for customers to see when another flavor has been added – just look for a new number.
If this bridge in Oberhausen, Germany, reminds you of a slinky toy, that’s exactly what inspired it. German artist Tobias Rehberger spiraled 496 coils around a rainbow colored walkway that crosses over a canal to connect two existing parks. Rehberger collaborated with structural engineers Schlaich Bergermann and Partner to realize his design. The structure consists of pre-cast concrete plates, spiral bars and railing made of steel and net cable, all attached to high-strength steel stress ribbons connected to the inclined supports on both sides of the canal. The 1,332 foot walkway has a synthetic finish that kind of bounces when you walk. It is presented in 16 different colors, matched in color on the underside of the bridge which is made out of a different material. The Slinky Bridge is luminous with color and definitely puts a spring in your walk.
VW’s Phaeton transparent factory in the heart of downtown Dresden runs counter to the traditional impressions of a car assembly plant. Instead of blue-collar workers, there are white-gloved technicians. Instead of deafening noises, there is the hushed atmosphere of a research lab. The floors are lovely Canadian maple, and the walls are clear glass, which is why a loudspeaker outside imitates territorial bird sounds to keep birds from flying into the glass. There are no smokestacks, shrill sounds or noxious fumes. The grungier stamping, welding and painting of steel bodies take place elsewhere. VW’s transparent factory, designed by architect Gunter Henn and opened in 2002, showcases the final assembly of the luxury Phaeton sedan. Futuristic, exacting, open, and pristine, the Dresden facility is as much a marketing device as a working production plant, drawing thousands of visitors for tours each year. This video is from Megaworld Germany.
With London-based Israeli illustrator Noma Bar, viewers have to look at his work at least twice — once to see the image in the positive space and again to see how the shape of the negative space creates a whole other picture. That’s the way Bar likes it. “Most of my images are not immediately obvious to readers. Most of them require a second reading or take a minute to interpret.” Irresistibly drawn to making viewers do double-takes, Bar extended this approach in another direction on the cover of Wallpaper* magazine, painting in 3-D and incorporating real objects.
Bar was commissioned by Wallpaper* , an international authority on cutting-edge design and style, to create eight newsstand covers for its Global Design issue, one for each of the world’s top design territories –Germany, the U.S., France, Italy, Spain, Japan, Belgium and Scandinavia (Norway, Sweden and Denmark). Tony Chambers, Wallpaper* editor-in-chief, says, “Bar entered a new dimension just for us. His cover designs are, in fact, room sets, painted in a three-dimensional studio space and integrating actual products from each of the territories.”
Here’s an effective print ad for VW Phaeton that doesn’t show the product at all — not the exterior, interior, engineering marvels or even a silhouette of the product. In fact, you wouldn’t make the connection to an automobile, much less a specific brand, if you didn’t see the VW logo and read the tagline at the bottom of the page: “Arrive in better shape. The Phaeton with adaptive air suspension.” At first glance, the ad just looks like an intriguing dissection of Cubist art. Look again. The humor (and the marketing message) come through when the ad is taken in as a whole. Very clever.
When you consider standard car ads, you can pretty much imagine the scenario – beautiful young couple driving over curvy scenic roads or attracting envious stares from suburban neighbors as the car pulls into the driveway. So it is refreshing to see how Volkswagen Phaeton has elevated its ads to fine art in order to convey the handmade quality of the luxury sedan. In India, DDB Mudra Group in Mumbai suggested the artisan’s pride of craftsmanship and attention to intricate details through the use of a traditional Indian art form. The way the Phaeton is integrated into the art is both surprising and memorable. More importantly, this isn’t a “foreign” ad jarringly adapted to an Indian audience. It speaks directly to India’s rich aesthetic heritage.
Feature films are a universal language as the media design students from Hannover, Germany, who put together this animated video prove. Felix Meyer and Pascal Monaco picked 35 of their favorite blockbuster movies from over the decades and distilled them down to an iconic sight or sound from each. The answers don’t seem to be posted anywhere online, so you might have to email them to find out if you guessed right.
What does it feel like to be a stranger in a foreign land? If you could communicate in the simplest, clearest language, what do you want others to know about you? Established in Berlin by two women from Argentina – one an artist, the other a journalist, Migrantas is a collective project that helps immigrants in Germany give voice to their concerns.