Last weekend the American awards ceremony One Show Interactive took place. One Show's prestigious metal pens are a weighty prize both physically as well as in the industry. F&B received ten nominations and took home four bronze pens.
--------------------------------------------------------------------------
AMF Pension - MMS campaign
> microsite
All advertising from AMF Pension focuses on the idea that the future is bright and there are reasons to look forward to it. F&B wanted to make the question of a pension important for younger people by getting them to think about the future.
This campaign employed phone messaging and a web-based service where visitors could have their sent-in photos "aged" so that the sender looked 70 years old. The campaign included film spots (with Peter Siepen and Charlotte Perelli), outdoor boards, Internet banners and a web site.
During October 322,946 photos were submitted by visitors that wanted to see how they might look as 70-year-old retirees. The goal was 50,000 visitors.
--------------------------------------------------------------------------
Wasabröd - Wasa Sandwich
> microsite
F&B created a web campaign for Wasa so that people could decide for themselves exactly how Wasa Sandwich should taste as well as how the packaging should look. Wasa gave F&B a number of ingredients they could imagine using, and then it was up to the people to decide.
On the site it was also possible for people to design the packaging for their own Sandwich, and then give their creations a name. Of course people could also vote for the entries they liked best. A jury will then decide which is the winning taste/design combination. That Sandwich will then be produced and delivered to stores. For real!
Go ahead and try to make your own Sandwich and don’t miss our great chef who will put it all together for you at the end.
--------------------------------------------------------------------------
IKEA - Let's dance
> microsite
> Hockeystick (site takeover) / IMU banner / leaderboard banner / widget
This is a campaign to promote IKEA's wardrobe solutions. IKEA wanted to show their huge range of styles and all the smart features on the inside.
All the movements on the web site are controlled by sound and music.
So change songs, upload your own music, play on your keyboard or sing into the microphone.
Showing posts with label interactive. Show all posts
Showing posts with label interactive. Show all posts
31 October 2009
09 October 2009
Design, designer, designst
Stijn loves cows and horses. Spends his freetime on a farm. Doesn't drink. Never goes out. In short, your typical creative internet guy. Stijn Pauwels was the founder and Creative Director of Milk&Cookies, made websites for the rich and/or famous (Diesel, Prada, MTV, dEUS, La Fille d'O,...) and is leading the interactive design department @famousbrussels
When I started my career as an intern at Milk&Cookies I could barely find most of the tools in Photoshop let alone know how to build a website. Working on the new website of Culture Club got my dragged down the whole interactive design thingy with Stijn leading the way. He's undeniably the nicest guy in the advertising business.
Creative juice will build your traffic - introduction
Yesterday I gave a lecture to a bunch of Postgraduate students "Managment Interactive Communications (MICa), talking about Site Promotion, Traffic Building & Visitor Mgmt. I'll post parts of that course under: Creative juice will build your traffic.
There is a strong demand for marketers who can combine marketing acumen with analytics and turn insights into leading strategic marketing communication campaigns. This involves capturing and harnessing vast amounts of information to provide insights about how to market to different customers with targeted one-to-one communications.
With "mica" the KHM has created a postgraduate platform for students who are passionate about online media marketing, information-technology and interactive communication techniques.
This postgraduate course has an emphasis on customer relationship communication strategies, loyalty programs and management of direct and interactive communications campaigns.
The Katholieke Hogeschool Mechelen -"Mechelen University College"- is a professional oriented higher education institution offering a wide range of bachelor degree programmes and is actively involved in research and consultancy. The Katholieke Hogeschool Mechelen has about 4400 students and offers 16 professional bachelor degree programmes (anno 2009).
The KHMechelen creates modern learning environments for its students in which they can develop their talents under supervision.
There is a strong demand for marketers who can combine marketing acumen with analytics and turn insights into leading strategic marketing communication campaigns. This involves capturing and harnessing vast amounts of information to provide insights about how to market to different customers with targeted one-to-one communications.
With "mica" the KHM has created a postgraduate platform for students who are passionate about online media marketing, information-technology and interactive communication techniques.
This postgraduate course has an emphasis on customer relationship communication strategies, loyalty programs and management of direct and interactive communications campaigns.
The Katholieke Hogeschool Mechelen -"Mechelen University College"- is a professional oriented higher education institution offering a wide range of bachelor degree programmes and is actively involved in research and consultancy. The Katholieke Hogeschool Mechelen has about 4400 students and offers 16 professional bachelor degree programmes (anno 2009).
The KHMechelen creates modern learning environments for its students in which they can develop their talents under supervision.
15 September 2009
Who am I? Ask the Internet - Personas
Personas or Metropath(ologies) is an installation by Aaron Zinmanis.
A component of the Metropath(ologies) exhibit, currently on display at the MIT Museum by the Sociable Media Group from the MIT Media Lab. It uses sophisticated natural language processing and the Internet to create a data portrait of one’s aggregated online identity. In short, Personas shows you how the Internet sees you.
via CrossTheBreeze
Don't quite get the medical connection :) — but heck the internet is always right thought, ain't it. Sure must agree with Bnox, watching the data being crunched was very impressive.
A component of the Metropath(ologies) exhibit, currently on display at the MIT Museum by the Sociable Media Group from the MIT Media Lab. It uses sophisticated natural language processing and the Internet to create a data portrait of one’s aggregated online identity. In short, Personas shows you how the Internet sees you.
via CrossTheBreeze
Don't quite get the medical connection :) — but heck the internet is always right thought, ain't it. Sure must agree with Bnox, watching the data being crunched was very impressive.
20 April 2009
OFFF 2009
Unfortunately I will miss this years edition but I suggest many of you to join me in tracking the event online as OFFF is a magnificent event.
Computerlove is looking for people to report from the OFFFestival in Oeiras (May 7-8-9). So if you're going and you're an enthusiastic blogger with something to say about graphic design and interactive applications you might wanna consider contributing to the CPLUV+OFFF blog.
Check inquiry here
Since 2001, OFFF is exploring software aesthetics and new languages for interactive and visual expression.
Every year, the festival features digital artists, web and print designers, motion graphic studios and avant-garde electronic musicians. But OFFF is more than an event about any of these disciplines. More than a design conference, a multimedia trade fair, or a digital animation festival. OFFF is an enthusiastic celebration of a new visual culture.
From exercises in interactive synesthesia that excite all our senses to stage performances made of lines of computer code. All this, and much more, is shown every year at OFFF; one of the essential meeting points for the international scene of postdigital creation.
Past participants in OFFF include legends of graphic design and visual communication like Neville Brody, Tomato, Kyle Cooper or Stefan Sagmeister; acknowledged software artistssuch as Jared Tarbell, Lia, Casey Reas & Ben Fry, or Daniel Brown; innovators of the moving image like We work for Them, Tronic Studio, D-Fuse or Renascent; explorers of advanced interaction like Soda, James Paterson, Amit Pitaru or Craig Swann; and the most important names that have defined the aesthetics of the experimental and creative side of the Web: Joshua Davis, Yugo Nakamura, Hi-Res!, Josh Ulm, or Erik Natzke. The festival has also a special spot for the main names in the Spanish scene (Area3, Vasava, Innothna, Cocoe, Dani Granatta, La Mosca...) and for creators of surprising new kinds of sonic landscapes: Tujiko Noriko, The Vegetable Orchestra, Sutekh, Taylor Deupree, System, Daedelus, Stephan Mathieu, Kenneth Kirschner...
OFFF is spreading the work of a generation of creators that are breaking all kind of limits. Those separating the commercial arena from the worlds of art and design; music from illustration, or ink and chalk from pixels. Artists that have grown with the web and receive inspiration from digital tools, even when their canvas is not the screen.
Computerlove is looking for people to report from the OFFFestival in Oeiras (May 7-8-9). So if you're going and you're an enthusiastic blogger with something to say about graphic design and interactive applications you might wanna consider contributing to the CPLUV+OFFF blog.
Check inquiry here
Since 2001, OFFF is exploring software aesthetics and new languages for interactive and visual expression.
Every year, the festival features digital artists, web and print designers, motion graphic studios and avant-garde electronic musicians. But OFFF is more than an event about any of these disciplines. More than a design conference, a multimedia trade fair, or a digital animation festival. OFFF is an enthusiastic celebration of a new visual culture.
From exercises in interactive synesthesia that excite all our senses to stage performances made of lines of computer code. All this, and much more, is shown every year at OFFF; one of the essential meeting points for the international scene of postdigital creation.
Past participants in OFFF include legends of graphic design and visual communication like Neville Brody, Tomato, Kyle Cooper or Stefan Sagmeister; acknowledged software artistssuch as Jared Tarbell, Lia, Casey Reas & Ben Fry, or Daniel Brown; innovators of the moving image like We work for Them, Tronic Studio, D-Fuse or Renascent; explorers of advanced interaction like Soda, James Paterson, Amit Pitaru or Craig Swann; and the most important names that have defined the aesthetics of the experimental and creative side of the Web: Joshua Davis, Yugo Nakamura, Hi-Res!, Josh Ulm, or Erik Natzke. The festival has also a special spot for the main names in the Spanish scene (Area3, Vasava, Innothna, Cocoe, Dani Granatta, La Mosca...) and for creators of surprising new kinds of sonic landscapes: Tujiko Noriko, The Vegetable Orchestra, Sutekh, Taylor Deupree, System, Daedelus, Stephan Mathieu, Kenneth Kirschner...
OFFF is spreading the work of a generation of creators that are breaking all kind of limits. Those separating the commercial arena from the worlds of art and design; music from illustration, or ink and chalk from pixels. Artists that have grown with the web and receive inspiration from digital tools, even when their canvas is not the screen.
05 February 2009
Everything clicks better with Coke - reply to Bnox
A while ago Bnox pulled a list of famous brand names on Facebook. Coke was clearly taking the lead. Yet, Clo marked that she felt the advertising strategy of Coca-Cola didn't push getting their story and ideas translated to web-based media. I replied on "Everything tastes better with Coke", commenting this:
In my opinion you're not wrong but Coke has to be credited to a certain point here. Maybe they don't need this leverage. After all they're already the number one popular brand without having to really engage in social media. I think they see no need to dip into that well this far.
Yes partly it's true, Coke doesn't seem to succeed, or even make effort, empowering their brand within social media. They don't quite engage with their customers, yet. And if they do it's rather poorly or unsupported. Coke doesn't shock us with distinct community campaigns in astonishing ways other brands have. On the other hand I think Coke should not be compared to brands like Dell and Adobe who have a much larger and more defined online audience, and also have a lot more and suitable content to make their mark for engagements in social media. Dell and Adobe need this presence online for support reasons, Coke doesn't really. But then again they are putting in much effort to do so: http://www.cocacolabelgium.be/showpage.asp?iPageID=2 I agree with you on the "entirely unbloggable websites" part as much of this website is flashcontent.
Also, Coke does ignite the audience in the online environment though. Some of their latest campaigns were picked up by wide range of people. Which resulted in lots of chatter online and thus raised value for the brand. I remember a social/charity campaign supported with some very nice photography which was plastered all over design and photography blogs a while ago. And I would also like to point to the campaign called the Happiness Factory. Although there is no real interaction campaign, not as far as I'm aware of, they have created some kind of cult (call it community) around the creation of their Hapiness Factory saga. The spots were produced by top motioncompany Psyop ( http://www.psyop.tv ) Lots of people, especially in Europe weren't even aware of the fact that these series ( http://www.cocacolabelgium.be/Happiness-Factory---The-Movie- ) of Coke spots were actually one larger story, credits due Wieden&Kennedy Amsterdam. Short after W&K had uploaded "the making of" ( http://www.dailymotion.com/video/x2elp2_happiness-factory-behind-the-scenes_ads ) on their YouTube account it was removed kickstarting enthusiasts to repost the movie and rallying eachother to get there hands on a copy. Deliberate or accidental, maybe we should ask. Veerle Pieters wrote lots more on the Happiness Factory: http://veerle.duoh.com/blog/comments/coca_cola_the_happiness_factory/ I'll just post the additional links to the .mov files here so they can easily be downloaded by ALT clicking them :) http://www.movedigital.com/go/veerlepieters/90874/psyop_coke_ad.mov http://www.movedigital.com/go/veerlepieters/90875/Mockumentary.mov http://www.movedigital.com/go/veerlepieters/90876/happinessfactory-hi.mov
Unfortunatly their interactive presence on this story so far is limited to a somewhat lame set of games you can play at http://hf3.coca-cola.com/?locale=be_NL
At Cannes this year Ivan Wicksteed, Global Creative Director of Coca-Cola, shed light on how the company turned a 30-second ad into a marketing platform that is expected to last for 30 years. Now that’s something gutsy to put in your creative brief. It should provide enough content for advertisers to leverage the brand in many ways using this platform as a jumpstart. For all I care all characters from these episodes can be brought alive in social media ways... Also had the redesign of the Coke identity, which mainly existed of symplifying the brandimage, was awarded with Gold in the design category at Cannes last year. I so loved it. But you were talking about social media, right. I'm sorry (*).
For Coca-Cola, so I've read, it’s not what people buy, it’s what they buy into. ( http://www.marketingwithmeaning.com/2008/06/19/cannes-day-2-coca-cola-storytelling )
A last something I would like to point out would have to make your doubt about their lack of online effort vanish somehow. In my point of view the CokeZeroGame ( http://www.cokezerogame.de ) really did establish a strong interactive value for the audience. Not a single drop of energy was send to be spared when Coke briefed North Kingdom to create the interactive version of a full blown action tv commercial. Word goes taht this is the 'largest' online campaign production so far, whatever that means of course. The choice for briefing North Kingdom was no random act since North Kingdom is considered to be The Number One digital agency in the world. And so, North did one hell of a job creating a fully online game that made my vain pump like raving madmen ( http://demo.northkingdom.com/cokezerogame )
Yet, I still don't drink CokeZero. I guess, to me, having a presence in social media isn't always key to better sales, buying behaviour or even to the relationship I have with the brand.
(*) Maybe Google should limit the number of characters in the Blogger commentsection ;) See you around
In my opinion you're not wrong but Coke has to be credited to a certain point here. Maybe they don't need this leverage. After all they're already the number one popular brand without having to really engage in social media. I think they see no need to dip into that well this far.
Yes partly it's true, Coke doesn't seem to succeed, or even make effort, empowering their brand within social media. They don't quite engage with their customers, yet. And if they do it's rather poorly or unsupported. Coke doesn't shock us with distinct community campaigns in astonishing ways other brands have. On the other hand I think Coke should not be compared to brands like Dell and Adobe who have a much larger and more defined online audience, and also have a lot more and suitable content to make their mark for engagements in social media. Dell and Adobe need this presence online for support reasons, Coke doesn't really. But then again they are putting in much effort to do so: http://www.cocacolabelgium.be/showpage.asp?iPageID=2 I agree with you on the "entirely unbloggable websites" part as much of this website is flashcontent.
Also, Coke does ignite the audience in the online environment though. Some of their latest campaigns were picked up by wide range of people. Which resulted in lots of chatter online and thus raised value for the brand. I remember a social/charity campaign supported with some very nice photography which was plastered all over design and photography blogs a while ago. And I would also like to point to the campaign called the Happiness Factory. Although there is no real interaction campaign, not as far as I'm aware of, they have created some kind of cult (call it community) around the creation of their Hapiness Factory saga. The spots were produced by top motioncompany Psyop ( http://www.psyop.tv ) Lots of people, especially in Europe weren't even aware of the fact that these series ( http://www.cocacolabelgium.be/Happiness-Factory---The-Movie- ) of Coke spots were actually one larger story, credits due Wieden&Kennedy Amsterdam. Short after W&K had uploaded "the making of" ( http://www.dailymotion.com/video/x2elp2_happiness-factory-behind-the-scenes_ads ) on their YouTube account it was removed kickstarting enthusiasts to repost the movie and rallying eachother to get there hands on a copy. Deliberate or accidental, maybe we should ask. Veerle Pieters wrote lots more on the Happiness Factory: http://veerle.duoh.com/blog/comments/coca_cola_the_happiness_factory/ I'll just post the additional links to the .mov files here so they can easily be downloaded by ALT clicking them :) http://www.movedigital.com/go/veerlepieters/90874/psyop_coke_ad.mov http://www.movedigital.com/go/veerlepieters/90875/Mockumentary.mov http://www.movedigital.com/go/veerlepieters/90876/happinessfactory-hi.mov
Unfortunatly their interactive presence on this story so far is limited to a somewhat lame set of games you can play at http://hf3.coca-cola.com/?locale=be_NL
At Cannes this year Ivan Wicksteed, Global Creative Director of Coca-Cola, shed light on how the company turned a 30-second ad into a marketing platform that is expected to last for 30 years. Now that’s something gutsy to put in your creative brief. It should provide enough content for advertisers to leverage the brand in many ways using this platform as a jumpstart. For all I care all characters from these episodes can be brought alive in social media ways... Also had the redesign of the Coke identity, which mainly existed of symplifying the brandimage, was awarded with Gold in the design category at Cannes last year. I so loved it. But you were talking about social media, right. I'm sorry (*).
For Coca-Cola, so I've read, it’s not what people buy, it’s what they buy into. ( http://www.marketingwithmeaning.com/2008/06/19/cannes-day-2-coca-cola-storytelling )
A last something I would like to point out would have to make your doubt about their lack of online effort vanish somehow. In my point of view the CokeZeroGame ( http://www.cokezerogame.de ) really did establish a strong interactive value for the audience. Not a single drop of energy was send to be spared when Coke briefed North Kingdom to create the interactive version of a full blown action tv commercial. Word goes taht this is the 'largest' online campaign production so far, whatever that means of course. The choice for briefing North Kingdom was no random act since North Kingdom is considered to be The Number One digital agency in the world. And so, North did one hell of a job creating a fully online game that made my vain pump like raving madmen ( http://demo.northkingdom.com/cokezerogame )
Yet, I still don't drink CokeZero. I guess, to me, having a presence in social media isn't always key to better sales, buying behaviour or even to the relationship I have with the brand.
(*) Maybe Google should limit the number of characters in the Blogger commentsection ;) See you around
08 April 2008
Subscribe to:
Posts (Atom)