This is always a touchy subject, and it seems we’re talking about Spec work yet again. This time, however, there is a healthy dose of government-sponsored irony included.

The Obama campaign (which technically is not part of the government) has put out a call for poster designs to promote, of all things, the jobs bill. There is no pay on offer, but instead this is an open call with the only potential award a signed version of your own winning poster. The cause is noble, and the way they package the contest is well-executed, but it’s still treading into the realm of spec work.

I’m not sure where exactly I stand on this particular matter. On the one hand, it is creative work, and therefore we the creative professionals should indeed be paid. But this isn’t a commercial endeavor, exactly, but a political campaign. I wouldn’t mind donating a few hours to potentially help Obama win re-election (or another political campaign or cause, for that matter). Design the poster, don’t design the poster, I really don’t mind.

But the trouble starts when the folks sponsoring it don’t think they’ve done anything wrong. They put it out to the public as if this is “for fun”, framing poster design as less than a real trade, and assuming that anyone with artistic inclinations will jump at the chance to participate. That’s clearly not the case.

Shepard Fairey with his Obama “Hope” portrait at the National Portrait Gallery

It’s worth mentioning, of course, how much free unsolicited design work was given to the Obama campaign in 2008. Shepard Fairey created the most famous of these, and his “Hope” poster later led to a rather nasty (but significant) court battle against the AP over fair use in photography. Designer and Illustrator Felix Sockwell did a series he entitled “Obeyma” (a reference to Fairey) and there have emerged dozens of gorgeous examples such as these typographic posters.

Obama typographic poster

I read about this in an article on Rolling Stone, where the tone is much more scathing, pointing out how the campaign has $60m cash on hand, and how with the justification that this is a $2500 donation to a campaign the math doesn’t add up. Check it out.

What’s your opinion, should political campaigns solicit contributions from designers? Are you going to enter this competition? Is this poster really that big a deal?

via Rolling Stone »

I suppose it is perfectly natural for the US Army, a large, highly visible, global organisation, to have a brand standards manual. Uncovered today from the folks at Core 77, we can see the Army’s Strategic Outreach Directorate, where logos, sounds loops, videos, ads, and other resources are available. Everything in sync. Lock-step, if you will.

This site is intended to provide current information to the United States Army Accessions Command community. It contains logo files, print ad samples, television ads, other advertising information and is intended to keep our community abreast of current advertising and outreach issues.

See for yourself »

Don’t have much to say here. I’m always curious to see brand manuals and how severely they police their standards. Working in the biz, we’re often charged with creating such a manual, and so knowledge is power.

via Core 77 »

Well, last night I snuck out to a preview and managed to watch the film. The two words on my tongue after seeing it: “so what?” The film is a little more than a trophy, acknowledging the rare moments in advertising that do, somehow, manage to cut through the shouting, and that can, admittedly, touch our lives. But we already knew that.

From the title, I imagined Art & Copy would be a sort of inside story into the day-to-day lives of ad agency workers. For once, the lay public will get a glimpse into how it happens, and see that behind these ads are real people, waking up and going to work. But instead, we see a reinforced stereotype of frustrated artists and eccentric creative directors who swear they are changing the world simply by breathing.

There has always been in our society a cynicism towards advertising. We don’t enjoy being interrupted, be it on television, radio, in magazines and newspapers, or even while walking down the street peering at bus shelters and billboards. We’re sick of this shit. But the film does nothing to assuage this cynicism, and instead helps solidify it by highlighting how each of the famous ad-men (and women) featured share a general hatred for their own profession. This is more apparent in the nature of the film itself — interview segments are intercut with montages of ad-saturated cityscapes. Statistics are displayed on-screen that quantify just how many ads we’re exposed to … and how the figures are getting worse over the years. So after a heart-warming tale about the golden age of the biz, we’re brought back to Earth by the reality that those days are, indeed, gone.

Advertising (at least in America and Britain) is overwhelmingly white and male. The industry continues to take criticism for this. And that lopsidedness is reflected in this film. I’m just saying. It also misleads the public by featuring only successful, distinguished industry veterans, thereby sidestepping the ugly issue of burnout, which is infamous within the profession. A lot folks don’t make it to the corner office, and are pushed out well before their hair goes white.

But to be fair, the Art & Copy does entertain. Featuring some of the most notable ad campaigns of the last 50 years, it literally makes us laugh and cry. After all, aren’t emotions slightly heightened by nostalgia?

There is an odd meta quality to the film — the whole thing is one giant ad in the sense that they use the medium of film, combined with moving music, well-chosen imagery, and clever text, to evoke emotions in the audience. And maybe we’re not supposed to notice, but I did, can still testify that in that regard, it’s done very well.

Sadly, the film represents very few campaigns (or thinking) from the 21st Century. Obviously, the Century is young, but with media and consumer habits changing so rapidly, I reckon it’s worth at least mentioning. One line, I believe, mentioned the need for more integrated campaigns going forward, and a few of the on-screen graphics acknowledged that advertising is no longer confined to the television set. But no attention was paid to the trans-cultural nature of brands, user-generated content, the push for online, the death of newspapers (and magazines), or TiVo, all of which are huge players in the constantly-evolving landscape of advertising today. With this oversight, Art & Copy might have been perfectly suited a release in 1999.

I am cynical about advertising. Perhaps because I like to focus more on the branding side of things, but I’m one of those guys who wouldn’t mind if all advertising disappeared overnight. (yes, I know there are economical logistical issues to work on) But even I, the cynic, have to give props to some of the campaigns over the years that have moved us forward. These are one that do become art, and do end up in that same corner of our brain where we store fond memories of childhood Christmases. Here are a few featured in the film. They are indeed timeless. (in no particular order)

Wendy’s – Where’s the Beef (1984)

MTV – I Want My MTV (1981)

Nike – Failure (1999)

Nike – If You Let Me Play Sports (1995)

Milk – Got Milk? (Aaron Burr) (1993)

Braniff Airlines – End of the Plain Plane (1965)

Reagan ’84 – It’s Morning in America (1984)

Johnson ’64 – Daisy (1964)

Apple Macintosh – 1984 (1984)

Apple iPod – iPod+iTunes (2003)

[someone please correct me if I got the years wrong. I'm not the expert here.]

So what’s the takeaway from all this? Basically the same thing we’ve been saying all along: advertising can push the limits of art, media, communication, storytelling, and society. But it usually doesn’t. If you’re a client, take a risk once in a while, it may pay off. If you’re an agent, try not to be a dick. Be creative. And don’t take yourself so fucking seriously. (I added that last one myself.)

PS, I think I might have voted for Reagan. A little hyperbolic, but man, what an ad.

This is a story of clever advertising (which I will, occasionally, highlight on this blog).

The Michigan Humane Society has taken a leaf from the (sagging) world of auto advertising in their latest push to find loving homes for thousands of cats across the state. The metaphor here is pretty see-through: pre-owned cats aren’t new, but slightly older. Adult cats have always been harder to place, compared to kittens.

Mike Robbins, director of marketing and communications for the Michigan Humane Society, says that in the shelter world, “summer has always been known as cat season.” With cats normally breeding in the warm weather, shelters are deluged with kittens and have trouble finding homes for their adult cats.

The campaign has taken another lead from auto advertising in their marketing summer as Cat Season. Much as with cars, the seasons are rather arbitrary. You can adopt a cat anytime, really, but marketers have shows us that summer is the best time to buy a new car, because that’s when the new year models come out. But if you can brave the snow and cold, you can usually get a better deal in the dead of winter. Wait, I think I messed up there for a second.

There’s also a hint or irony to it all that this should be done by the Michigan Humane Society. The state’s economy has itself been spade by the continued sloppiness of the auto industry. In fact, many of the folks turning in their cats for adoption are laid-off auto workers forced to sell their houses and downsize to smaller, non-pet-friendly apartments.

Are advertisers simply being cheeky and commenting on the old standbys of consumerism? Or are they accidentally pushing a sore spot by picking the one industry that all Michiganders are sure to understand (not always for the best reasons)?

Maybe I’m thinking too hard about it.

Aren’t cats cute? Meow.

•• Article Here »

Ever wonder what would happen if you took popular high-fashion brands and created a line of cupcakes in a similar style of art direction? Well, wonder no more. From Zen Cupcake comes exactly such an examination. Srsly.

While this is bizarre in its unexpectedness, it’s actually novel in that the whole endeavor reminds us of the power of brands, in this case portrayed through photography and the combination of colour, type, lighting, pattern, and symbolism. The fact that these labels can be deconstructed to their elementary particles is testament to solid branding and consistent design modes over the years. It really has nothing to do with fashion.

There is an old adage that says that a brand is powerful if people see a similar style and think “that could be an ad for ____.” Think of Apple, Coke, Target, American Apparel, Volkswagen, Bud Light, or Geico, to name a few. You know and recognise the brand even before you see a logo or read a line of copy or hear one word of voiceover. That’s what you should be striving for — and enduring, consistent style that is unique to your brand.

Ok, now go get yourself a cupcake.

It emerged recently that Emma Watson, of Harry Potter fame, would be the new face of Burberry, appearing in print ads for the high-style fashion brand. This is an impressive feat for any model, and the 19-year-old Watson should view this as a certain-sized blue ribbon in that regard.

More significantly, she will now be seen as the new face of Britain. You see, while many brands try to capitalise on their national origin, Burberry is perhaps the purest example of a fashion label that uses it’s photographic advertising to portray slice-of-life scenes from their native Britain. Outdoor, on-location photography, combined with natural tones, and an undertone of straight-laced conservatism help endorse the brand and truly British. Another remarkable feature about Burberry, at least by my observation, is that the models actually wear clothes! None of the homoerotic smut you might find from Gucci, for example.

So is Emma the right choice to represent a brand and, by proxy, an entire country? Clearly, she’s got the face, but as a relatively new entrant to the fashion world (from the world of popular movies, no less) I can foresee some sniping from industry insiders. Also, she’s much younger than the brand usually skews. Burberry is aspirational. And while many young women may save their pennies to buy a scarf or bag, it’s really for grown-ups who earn a good living and enjoy looking sharp. But being 19 in the fashion world means you’re ripe for any purpose. Youth, after all, is a commodity.

Has Burberry made a good choice? Are they continuing to represent Britain? I dare say so. *quiet applause*

Creative director Christopher Bailey told WWD, “I wanted the images to represent both the rich history and the modernity of the Burberry brand, while at the same time reflecting a quiet beauty, timelessness and strength that is particularly significant today.”

Branding press release waffle is usually pretty horrible, but that about sums it up.

more photos and details here and here »

Good 50×70 is a poster design contest, with a philosophy: “to broaden designers and design students’ perspective on design and visual communication by using their creativity to address social issues.”

Awesome posters themed around social issues. To create awareness. This year’s nominees are up, and generally brilliant. I wish I had this much creativity or passion for social issues. Here are a few I like based on a quick browse. Go check out the other poster designs »

If you’re in the mood to gawk at some brilliant imagery, head over to PSDTuts and see the interview with Peter Joworski. His work is falls generally into the category of photo-manips for advertising. Making ordinary things pretty cool.

•• Interview Here »

Chinese food box plastered on every surface with ads for Noticias on NY1

Putting aside for a second the obvious initial shock of holding a bright blue and yellow chinese food box, I have only two questions: When did Chinese food boxes, those cherished symbols of urban existence, become an advertising medium? And, do Latinos, the obvious target audience for these particular ads, eat much Chinese food?

My answers, as an advertising cynic and packaging purist, of course are “they’re not” and “no”, respectively. My roommate pointed out an interested point that this could in some way ignite a movement of free, ad-supported food. Give away the product, and fund the venture based on the advertising dollars. You figure, if these boxes were in the hands of X families per night, that’s Y eyeballs on the news, and that leads to Z sales in products from those ads. It’s like a perverted Mobiüs strip of over-stimuli and forced-fed consumerism … no pun intended. This being Brooklyn, there are many different nationalities all living on top of one another, but to place ads in languages other than English is always controversial, even on New York soil, and especially for a neighborhood that is still mainly English-speaking. Yes, we see many Spanish language advertising in the South Bronx and parts of Spanish Harlem, but in Williamsburg? Even on the South side, I think the Puerto Ricans are in the minority. Maybe they should have written the copy in Yiddish. Then again, I’d be shocked if Chinese food were Kosher.

This deserves a major WTF for A.) slapping advertising on an inappropriate and unwilling medium, and B.) existing as a total non-sequitur demographically. I hope this sort of thing does not catch on. In fact, I hope that people complain and throw back these boxes.

Side note: ordering Chinese food in Puerto Rico, to Spanish-speaking Chinese immigrants, is the single most bizarre experience I’ve ever endured. Maybe from that awkwardness could spawn a really interesting idea…

Check out the poster for the new Jim Carrey movie “Yes Man“. Try and tell me this isn’t heavily inspired by Barack Obama’s campaign posters and the overall style of art direction found on his site and in print. Aside from the soft blue gradient backgrounds and inoffensive sans-serif type, we are bombarded by the word YES, as in Yes, We Can.

This isn’t the first movie poster of late to take from the Obama school of design. I commented previously on Luke Wilson’s upcoming flick, and its poster. It’s becoming more and more apparent that the inspiration isn’t all about political rhetoric and civic responsibility, it’s a multi-sensory experience. Will we soon see these design trends trickle down into product, packaging, and maybe even automotive design? How far will Obama infiltrate our modern design culture? Remember the wave of iMac-inspired products back in 1998-99? Are we about to see the “Yes We Can-opener”?

Spotted on MoviePosterAddict »