Posts Tagged trend

Advertising People Are Not Normal

Do advertising people really understand consumers who are not from advertising, who are not clients, salespeople or marketers? Well, the article followed by infographic below gives us a point of view. Do we really understand our consumers? Or, are we actually a bit..bias?

Infographic Confirms It: Advertising People Are Not Normal
By: Christine Champagne

A new study shows: Ad people love advertising and social media. Other people, less so. Also, ad people are more likely to behave badly at office parties.

Those who work in advertising often wonder if they live in a sort of bubble. You wonder, are civilians as active on social media and as inclined to pay attention to what brands are doing on Twitter, and is the rest of the world as preoccupied with that award-winning ad campaign that industry types can’t stop talking about?

The unsurprising answer is no, according to a study commissioned by San Francisco-based advertising agency Heat and conducted this past March by iThink, which found that people who work in advertising and marketing are worlds apart from the “normal” people when it comes to how they use social media and how they view social media marketing.

By the way, the survey also revealed that ad professionals tend to engage in more bad behavior at office holiday parties. More on that later.

First, mull these findings on how advertising/marketing professionals use Facebook as compared to the general public:
• 71% of advertising/marketing professionals say they pay attention to brand posts in their Facebook news feed “all of the time” versus 23% of the general population.
• As for Twitter: 92% of advertising/marketing professionals use Twitter to follow brands they like. 33% of the general population does so.

Should brands put more effort into interacting with consumers via social media?
• 63% of advertising/marketing professionals “strongly agree” that they should; 23% of the general population “strongly agree”

Meanwhile, digital marketing campaigns that are endlessly discussed in the advertising industry aren’t so well known in the wider world. Chew on this:
• 70% of advertising/marketing professionals were aware of Burger King’s “Subservient Chicken” digital marketing campaign vs. 8% of the general population; as for the mega-award-winning Jay-Z “Decoded”: 63% of advertising/marketing professionals aware of campaign vs. 9% of the general population.

And the study also seems to suggest that the Mad Men stereotypes aren’t off the mark: Subjects were also asked about how they act at office holiday parties, and it appears that people who work in advertising are more likely to puke from drinking too much (37% vs. 9% of the general public); do drugs (26% vs. 3% of the general public); and hook up with a coworker (26% vs. 8% of the general public). If you work in advertising, these results likely aren’t surprising to you.

Source : fastcocreate.com

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Turn your Twitter to Sh*tter

Maybe you love your Twitter feed so much that you want to read everywhere you go, even the bathroom. Or maybe you feel it’s just a load of crap. Whatever, it’s now possible to do either, thanks to Shitter, which charges $35 to turn your Twitter feed into a toilet roll and send it to you. The site, which launched yesterday and has already become a hot topic of conversation on (you guessed it) Twitter, was developed by Australian creatives David Gillespie, Johny Mair, Ian Ha and Matthew Delprado.

Source : creativity-online, shitter.com

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Axe Men Are Keeping Up With Brainy Girls

Director Tim Godsall and BBH London create a new series of commercials for Axe Shower Gel that, for once, features men trying to keep up with high-achieving women. These special women all need guys that go the extra mile to keep them happy, and Axe Shower Gel can help with that. The spots are a bit of a turnaround for the brand, which usually tells the “use product, get girl,” story in its creative work. But Axe is more than that, the new spots show. It can help you keep (and keep up with) the girl as well.

Enjoy all hilarious episodes with smart copy writing here :

Brainy Girl

Sporty Girl

Party Girl

Flirty Girl

High Maintenance Girl

source : creativityonline.com, Axe’s Youtube Channel

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The changing face of superhero comics

Knockabout fun or antidote to human powerlessness in an age of technology?

Let us consider the changing face of superhero comics. As Grant Morrison observes in Supergods, his book-length analysis of the superhero phenomenon, the idea of these characters has long been “at least as real as the idea of God”.

Like the idea of God, the idea of superheroes has changed with the times, subject to canonical revision, radical exegesis and acrimonious debate. Find out more in the video, a 6-min interview with Grant Morrison.

See the video: http://www.wired.com/video/grant-morrisons-theory-on-the-modern-superhero/1083166424001

Article: http://www.ft.com/cms/s/2/f598e770-ad57-11e0-a24e-00144feabdc0.html#axzz1TkXdGVeH

By Cheese

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Digital Archaeology: 12 Forgotten Designs That Changed The Web

A brand new exhibit shows just how far we’ve come since the internet was invented 20 years ago.

Twenty years from now, will anyone look back at the the explosion of touchscreen and tablet designs and marvel at what we thought we knew? Let’s hope so, because history is a difficult thing to hold onto in the digital age. Luckily, an art exhibit called “Digital Archaeology” has artfully excavated some highlights of the last two decades of website design to give us some perspective on where we’ve been, where we are, and hopefully where we’re going next.

The web was invented in 1991, yet many of the early sites can’t be seen.

The exhibit is the brainchild of Jim Boulton, Deputy Managing Director of “post-advertising” agency Story Worldwide, and just opened as part of Internet Week New York. Ever wonder what the world’s very first website looked like? Wonder no longer as you look at Tim Berners-Lee’s 1991 document-sharing utility for CERN. Or Word.com, one of the web’s first influential e-zines. (Let’s hope Suck.com makes an appearance too.) The World Wide Web was invented in 1991 and over the last 20 years it has totally transformed the way we live our lives, yet many of the early sites can no longer be seen. In fact, no copy exists of the very first web page, not even a screenshot,” Boulton tells Co.Design. “I am not saying the sites in the show are the only 28 sites that need archiving. They are a collection of some of the most significant sites over the last 20 years, but the purpose is to raise the profile of archiving websites [in general].”

“Digital Archaeology”‘s selections, unsurprisingly, skew heavily toward interactive advertising. But by pointing out the technologies that made these early experiments possible — like Flash (shudder), HTML2.0 (you may have heard we’re up to 5 by now), and PHP (they mention it in The Social Network if you pay attention) — the exhibit paints a valuable portrait of the truly blistering pace of design innovation online.

The Project (HTML 1.0)

In 1990 Berners-Lee realized The Project by creating a browser-editor that ran on the now obsolete NeXTStep Operating System. He called it the WorldWideWeb. The first website, describing The Project, was published the following year in 1991. The original website no longer exists and no screenshots were made. The earliest copy available, shown here, is from 1992.

Photograph courtesy of Story Worldwide

Word.com (HTML 2.0, Director 5 [Shockwave], Real Audio)

Launched in 1995 by Editor Marisa Bowe and Creative Director Jamie Levy, Word.com was one of the earliest and most influential e-zines. Unlike many web publications of the time, which simply re-created the print magazine format online, Word.com was a true multimedia experience, incorporating games, audio, and chat. Its DIY ethos and first-person conversational style immediately appealed to its audience of “underachieving sub-geniuses,” and the site was soon receiving 95,000 page views a day.

Photograph courtesy of Story Worldwide

K10K (HTML 4.0)

Also known as “The Designers’ Lunchbox,” the K10k site (1998) was the result of a chance meeting online between Toke Nygaard and Michael Schmidt. A clear homage to Apple’s iconic ’80s interface designed by Susan Kare, Nygaard and Schmidt’s iconic pixelated design, together with their commitment to content, non-profit ethos, not to mention sheer stamina, has led K10k to become one of the web-design industry’s most beloved sites.

Photograph courtesy of Story Worldwide

YUGOP.com (Flash 4)

When Yugo Nakamura unveiled his MONO*crafts site at yugop.com in 1999, it made an entire industry stop and draw a breath. One of the first designers to embrace and exploit the potential of ActionScript, Nakamura’s interactive environments were very fluid, calming, and natural. Previously a gardener, he quotes an old Japanese saying: “Rather than beautifying one’s own creation, make better the environment that surrounds it” — in other words, better to make a beautiful user experience than a beautiful website.

Photograph courtesy of Story Worldwide

MTV2 (Flash 8, Vectra 3D, 3D Studio Max, Swift 3D)

Digit’s BAFTA Award-winning website for MTV2 in 1999 is notable not only because of the flawless creative execution, but also for marking the first time the web creative led the TV and print campaigns. The site is reminiscent of first-person shooter games like Doom or Quake, and there are more subtle culture references to classic video games and science-fiction movies throughout. At one point, a faceted block rises and exits the screen in homage to the Millennium Falcon; in another, a landscape is reminiscent of a pared-down cityscape from Blade Runner.

Photograph courtesy of Story Worldwide

Barneys.com (Flash 4)

Criticized by some for a lack of usability, digital agency Kioken was resolute in its belief that audiences raised in the video game era were practiced in deciphering interfaces and in fact, they took pleasure in the experience. Taking their cue from TV and video games, Kioken’s websites had a depth and emotional quality absent from their counterparts. Full-bleed images, parallax movement, and floating palettes were used with great effect, all coming together beautifully on Barneys.com in 2000. According to Na, it’s simple: “You have to think beyond the limits of a page.”

Photograph courtesy of Story Worldwide

Requiem For A Dream (Flash 4.0)

Hi-ReS! broke out as an agency in 1999 following the launch of their experimental website soulbath.com, “an exhibition of anti-banners.” Twelve million page views later, the site caught the attention of the film director Darren Aronofsky, and he gave founders Alexandra Jugovic and Florian Schmitt their first commercial project, building the website for his new film Requiem for a Dream in 2000. Like all Hi-ReS! film websites since, the result is much more than a trailer: It’s a cinematic gem in its own right. Requiem for a Dream is about addiction, compulsion, and inevitable descent. The website investigates similar web-based behaviors, particularly online gambling and the “morbid patterns the medium is able to create in its users.” As the user descends deeper into the malfunctioning website, it gradually deteriorates and finally falls apart, ejecting the visitor in its death throes.

Photograph courtesy of Story Worldwide

VODAFONE FUTURE VISION (Flash MX)

When Vodafone commissioned North Kingdom to develop a website that depicts a vision of the future of mobile communications, it did so with an open brief. North Kingdom was not only involved with the design and execution of the site, but also collaborated on what the future might look like. And it did so with remarkable foresight for 2004, predicting the prevalence of geo-location technology, electronic paper, foldable screens, tablet devices, and the dominance of touch-screen interfaces, three years before the launch of the iPhone.

Photograph courtesy of Story Worldwide

Subservient Chicken (Flash MX)

When ad agency Crispin Porter + Bogusky wanted its creation for Burger King brought to life online in 2004, it turned to long-term collaborator The Barbarian Group. Its response was to create an interactive video-based site that allowed visitors to control the chicken via their keyboards. Playing on transgressive webcam culture, more than 300 different clips were tagged with all manner of commands, and, a year before YouTube existed and six years before the Tipp-Ex bear, a much-imitated format was born.

Photograph courtesy of Story Worldwide

IKEA DREAM KITCHEN (Flash 8 )

Forsman & Bodenfors’s groundbreaking website for IKEA in 2005 consists of six kitchens frozen in time and space. In one, a champagne bottle erupts and the bubbles hang in midair. In another, steam suspends inanimately above a frying pan. As visitors explore the 3-D panoramic views of each kitchen, they are treated to Matrix-style special effects. Combining “bullet time” and kitchens is about as ambitious as it gets, and the IKEA Dream Kitchen website has rightfully received the plaudits ever since.

Photograph courtesy of Story Worldwide

HBO Voyeur (Flash CS3)

Voyeurism is part of human nature: We are fascinated by other people, and the web has given us the unchecked ability to spy on others without censure. The HBO Voyeur advertising campaign plays on this shared guilty pleasure. Created by BBDO in 2007 to demonstrate the evolution of the HBO brand across multiple platforms, the campaign consisted of a four-minute film projected onto the side of an apartment block in New York and original content distributed across the social web. All held together by a highly sophisticated website developed by Big Spaceship, this is a master class in multichannel storytelling.

Photograph courtesy of Story Worldwide

Agent Provocateur (Flash 8, HTML 4.01, PHP 3)

Starring Maggie Gyllenhaal, the 2007 website by Story Worldwide was based on one of the most neglected areas of popular culture, the trashy novel. In the early 20th century, pulp fiction was churned out in every imaginable genre, and their covers and titles were intense, exploitative, sexy, and graphic featuring some of the most provocative imagery of the time. Rory McHarg reimagined this cover art for Agent Provocateur, retaining the intensity but ensuring women were portrayed in positions of strength. In the words of Joe Corré, “The website does more than sell; it’s about telling a story, taking people on a personal adventure.”

Photograph courtesy of Story Worldwide

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Why Marketers Shouldn’t Waste Their Time With QR Codes

An Important Advertising Lesson You Can Learn From a Rat

I was in New York last week walking down a street in Chelsea when I encountered the largest rat I have ever seen. It was 30 feet tall. Fortunately, it was an advertising medium and not a live scavenger. It was one of the inflatable rats that unions have been using, and I was immediately drawn to it. As I approached the rat, a union member handed me a flier and explained the grievance he and his fellow members were there to tell people about. The rat made the moment memorable and created an instant connection between the protesters and me.

If someone had figured out a way to do that with a QR code, we would know it by now. We’ve seen them everywhere — bathroom walls, billboards and rub-on tattoos — tossed like digital spaghetti against a wall in hopes that some of it will stick, or click, to an ad. Overuse of a new technique is nothing new. New technology tends to follow a predictable path from discovery, to overuse and disillusionment, and eventually, a proper or right level of use. But in the case of QR codes, that “right level” is likely to be fairly low and short-lived. Because it’s the marketers, not the customers, who are so enamored with it.

Various talking heads have called this “The year of the QR code,” and said that the codes will revolutionize the print industry. Does anyone remember the Cue Cat? It was a device that came out in the 1990s and readers were going to use it to scan bar codes in magazines, which would take them to innovative websites. Sound familiar?

QR codes have a big leg up on the bar codes that were read by the Cue Cat. The technology to use them is already in most people’s pockets. We would assume this type of access might play a major role in the QR code’s success, but that’s only part of the story. The rest of the picture shows why we shouldn’t get too attached to the QR code.

Much is promised. Little is delivered. Remember last summer when Calvin Klein unveiled a giant QR code on Houston Street in New York? Probably not. The code took people to yet another video of alienated, attractive, semi-dressed 20-somethings traipsing around urban landscapes. Yawn. Where haven’t we seen that before? That was the advertising equivalent of “I shaved my legs for this?”

QR codes can actually impede the conversation. First, you have to assume not everyone knows what they are, so you have to explain how they work. Then, you just hope people are willing to download the app and go through the hassle of getting it to work. Then and only then will they be exposed to whatever brilliant website you have put together. And the majority of the time, this process neglects the critical issue of why someone would want to do any of this in the first place. Right now the answer to that seems to be, “Because marketers thinks it’s cool.”

This is a dead-end technology. This is a transitional technology, and other options are headed to market that will quickly displace it. Improvements in mobile search far outpace QR capture. Near Field Communications will provide richer machine interfaces. Google Places has already abandoned QR codes for NFC chips. Does “mini-disk” ring any bells? They were smaller than a compact disc and couldn’t hold nearly as much information. The QR code is the mini-disk of the future.

It’s not all bad though. There are some good QR uses. These are the ones that actually make people’s lives easier — like displaying a boarding pass on a smartphone to a ticket reader. But the day of huge billboards that are nothing but QR codes is definitely past. Go get me an inflatable rat!

ABOUT THE AUTHOR
Dave Wieneke is a digital business strategist who speaks internationally and blogs on the future of digital marketing at Useful Arts. He has directed digital for Thomson Reuters Legal, Sokolove Law and the Christian Science Monitor.

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