Addiction Magazine

Issue 001 March 2012

AD for your addiction or addiction for AD.

editorial BY effrosyni leventi frosoleventi@hotmail.com

[ dito

AD D 02

What I hate most? The answer is the alarm clock, it doesn’t matter what time is ringing, but that loud sound which interrupt your dream and make you wonder what you should do, stay in bed and continue what you were dreaming or get up of the bed and prepare for a new sunny day that could make your dreams come true .

Because

it doesn t it doesn ' t matter how how matter good you are but how good you you want want to to be. be.

This first issue is dedicated to the fresh people which are wishing to be a part of an advertising agency which have woke up this beautiful morning as students, graduated, ready for an interview, or kind of scared for the first day at work. Optimistic or pessimists thinking that they will never come up with that perfect idea that professionals already have, you are walking in the street jealous of what they have already occurred wondering if one day you will be the one with the inspiration of a fresh idea !

Sometimes you stuck in front of an empty pad holding a black marker and waiting for it to start sketching with fury and giving you a brief solution, or you expect all the pictures you have in your mind to be captured in your layout impressing the boss and give a big smile to his face.

What you should know is that all the awarded campaigns started from a simple layout on a dirty pad, so

DOING A LAYOUT MEANS HAVING AN IDEA passionate to this lifeless piece of

paper and manage to make it even better than was in your mind.

But first of all, believe and bet for your ideas if you don’t ,how you expect others to believe at them.

Never afraid of being a dreamer because dreams, passion and addiction of what you are doing is the fuel to keep you focused on your goals.

“All of us want to be good at our jobs, but how good do we really want to be?

Quite Good.

Good.

Very Good.

The best in our field.

Or the best in the world?

Talent helps, but it won’t take you as far as ambition.”

EDITOR SAYS

[ or sa We are all looking for the easier way to do something, the solution that automatically puts us at the top of our game (I’d certainly like that!), but lets face it – the only way you’re able to be good at something is to do it, make a mess of it, and do it again – but with more experience this time.

Till next time, Aim high. Don’t hold back.

“You will become whoever you want to be.” ~ Paul Arden 1940-2008

YOU CAN ACHIEVE THE UNACHIEVABLE

Firstly, you need to aim beyond what you are capable of. You must develop a complete disregard for where your abilities end. Try to do the thing that you are incapable of. If you think you are unable to study in the best colleges make it your aim. If you think you are incapable of running a company make it your aim. Make your vision of where you want to be a reality.

Nothing is impossible.

Energy is 75%

of the job. I’m not use to wish for full pads by a magical way, or to have more time for a brief, or for someone to help me. But I am always wishing for more energy, to work so hard and have that room full of rubbish papers on the floor until I will come up with the perfect idea.

Accepting that in our days is getting more difficult to have more than 50% of energy, I want my magazine to be 17.4% of the energy you need and activate your imagination by giving you more ideas.

I’ m just writing in this magazine what I wish to know as a little information that will motivate me by non stop thinking and informing of any news in this big world of advertising. This month I’ m sharing with you an interview of the Chairman of Saffron Brand Consultants, Wally Olins, an award-winning advert, some tips you should know and make you work better as some past adverts that are going to inspire you and more pages you are going to like!

So I wish you a wonderful month full of energy and imagination, enjoy each page.

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ofixpres, stories read differently

awarted advertising of the month

worldwide , reviews

the greatest adverts,graTphic designs ,illustrations and creative inspirations

effrosyni leventi

editors letter

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024 025

006 023

002 003

d&ad

events & exhibitions

page 15-22

036 039

quote of the month

the nightwatcher tips of the month

wally olins, the Chairman of Saffron Brand Consultants

interwew of the month

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028 035

026 027

wally olins

& 06

[

the greatest adverts,graTphic designs ,illustrations and creative inspirations worldwide

[ 007 010 011 014 015 022

addictions HIGHLIGHTS OF THE MONTH Creative Advertising on Building

Creative Advertising on Columns

events & exhibitions by d&ad

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__ A billboard is a large outdoor advertising structure , typically found in high traffic areas such as alongside busy roads.

Billboards present large advertisements to passing pedestrians and drivers. __Typically showing large, ostensibly witty slogans, and distinctive visuals, billboards are highly visible in the top designated market areas. Bulletins are the largest, most impactful standardsize billboards. __ Located primarily on major highways, expressways or principal arterials, they command highdensity consumer exposure (mostly to vehicular traffic). Bulletins afford greatest visibility due not only to their size, but because they allow creative “customizing” through extensions and embellishments.

{1}

A X E : SCHEDULE

__ Client : AXE __ Creative Director : Tai-il, Lee

Credits:

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__As wrapping the female students’ dormitory in the shape of calendar and using Axe for a month throughout March, they aimed for the expression that a new female can be met on a daily basis, to promote the brand image and preference for Axe.

Agency: When Gee, Seoul, South Korea

__Yet another different execution of the same theme for Axe. There are very few brands which stick to the same idea for so long. But then why fix something if it ain’t broken.

A smart idea which I think doesn’t cross the line.

Copywriter: Jong-hwan, Choi

Creative Director: Tai-il, Lee Art Director: Jeong -gon, Kang Designer: Mi-sun, Kim

Production Manager: Seong-kuk, Jeon Published: February 2009

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Creative Advertising on Building

“

“ {2}

V O DA F O N E

__ Client : Vodafone __ Creative Director: Nick Gill

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Credits: Agency: BBH London Creatives Designers: Dominic Grant Chris Chapman RICH KENNED Mark Pickering Colin Clarke Sharon Chong Sid Russell John O\’Keefe Executive Creative Director: Andy Clough (Creative) Richard McGrann (Creative) Country: United Kingdom

__BBH London has created an iconic poster for a site outside Heathrow Terminal 1. __The site fits in with Vodafone’s strategy of “Make the most of now.”

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__ Nike’s “Write the Future” campaign, seen throughout the world in a 3 minute television commercial, can also be experienced in outdoor billboards and 3D statues. __Fourteen footballing icons have been transformed into marble and bronze statues, shown during pivotal match moments of their careers.

n i ke _ d r og b a .

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Creative Advertising on Building

n i ke _ r i b e r y

n i ke - r o o ne y

n i ke - r o na ldo Credits The Write the Future statues campaign was developed at Wieden+Kennedy, Amsterdam, by creative directors Mark Bernath and Eric Quennoy, copywriter Ebba Hult, art directors Pierre Janneau and Chris Thurman (W+K Portland), print producer Sharon Kwiatkowski, account manager Gene Willis, Jordi Pont, David Anson, Marco Palermo, Jason White (W+K Portland).

__ The billboards were produced at Happy Finish by Ian, Simon, Matt, Wesley, Tim, V, Alex.

The statues were produced at 3D Culture, Strasbourg.

n i ke 11

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Creative Advertising on Columns

Global Coalition for Peace Column Ad __ Big Ant International have won a Gold Pencil for Design (Public Service Poster) at the One Show Design Awards held this week. __ Four posters were designed to wrap around poles, campaigning for an end to the war in Iraq, pointing to the Global Coalition for Peace web site.

“

“

What Goes Around Comes Around

__Grenades, rifles, missiles and tank guns come round the pole to catch up with the aggressor in each poster. What goes around comes around. __The campaign won a Silver Pencil at the One Show and has also been shortlisted at the 2009 Clio Awards (May 12-14) (WON GOLD) and D&AD Awards (June 11), and won a Gold Outdoors Lion at Cannes International Advertising Festival (June 23).

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Creative uses of columns, poles and pillars in advertising campaigns by various companies.

{1} Dulcolax Column Advertisement __ Ordinary advertising columns were turned into giant toilet paper rolls in Dusseldorf, Germany. {2} Toys “R” Us Column Advertisement __ For the Toys’R’Us inflatable beach toy collection, the regular ad space of an advertising column was extended to the whole planet.

Agency: Grey Worldwide, Duesseldorf, Germany Creative Directors: Florian Meimberg, Torsten Pollmann Art Directors: Florian meimberg, Matthias Renner Copywriter: Torsten Pollmann Illustrator: Hajo Mueller

{3} Ice Age Column Advertisement __ Creative ad column promotes Ice Age 2: The Meltdown animated movie.

{4} Heineken Column Advertisement __ Clever Heineken beer column advertisement from Switzerland reminds us not to drink and drive.

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Creative Advertising on Columns

{5} Fiat Pillar Advertisement __ Stickers were attached to damaged pillars at parking lots.

“Save the pillars. Fiat Stilo with parking sensor”.

Advertising Agency: Giovanni+Draftfcb, Rio de Janeiro, Brazil Creative Directors: Adilson Xavier, Cristina Amorim, Fernando Barcellos Art Director: Felipe Gomes Copywriters: Fábio Penedo, Bruno Pinaud Published: March 2008 {6} McDonald’s: Umbrella ww __Shelter served at McDonald’s This is a standard Danish adshell. The top of the adshell has not been modified. Nothing was added but the poster.

Advertising Agency: DDB Denmark Creative Director: Patrik Danielsson Art Director / Copywriter: Mikkel Møller

Published: March 2008 {6} Anti Smoking Column Advertisement __Regular advertising columns in Germany were turned into giant stubbed out cigarettes to encourage smokers to quit smoking.

{7} Greenpeace Column Advertisement

[[

Photographer: Thomas Juul

__There’s no better medicine for the environment than your contribution.

Advertising School: European school of design, Frankfurt, Germany Creative Director: Ralph Thamm Idea / Art / Photography: Stefan Mildner Illustration: Pavel Bondarenko Copywriter: Stefan Mildner

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http://www.dandad.org/

\ D AD 50 \ D\AD\50 \ \

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events & exhibitions

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To celebrate D&ADs 50th Anniversary, the oganisation is announcing a series of events to celebrate this remarkable milestone.

2 D&AD Yellow Pencil Announcements 2012 __The Yellow Pencil Announcements will take place on 19 April. Judging for the Awards is between 16 19 April, and press are invited to interview the judges during their deliberations.

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Birthday Dinner __The D&AD/50 Birthday Dinner will take place in London in September. __The evening will be an exclusive ceremony, highlighting the lives and talents that have shaped the creative industries, and celebrating the brands and businesses behind the most iconic design and advertising of the past five decades. __The 50th Black Pencils will be announced and awarded, and the Yellow Pencil Winners will be honoured at the event. Tickets will be available following the Yellow Pencil Announcements in April.

The annual presentation of the Yellow Pencils is different for 2012. Press, nominees and judges will be invited to a theatre-style presentation. The event will be delivered by the Jury Foremen, including John Hegarty, David Droga, John O’Keeffe, Graham Fink, Bob Gill, Marina Willer, Morag Myerscough, Bob Greenberg and a host of other legendary creatives. For the first time ever, the Foremen will discuss highlights from the nominated work, before announcing the winners. __The presentation will take place in London’s Imax theatre. A press area will allow the Yellow Announcements to be sent out live. Black Pencil judging will be conducted by the jury Foremen on 20 April, during which the Yellow Pencil winning work will be scrutinised for consideration for the creative industry’s most coveted prize.

Judges will be available for interview throughout judging week. Press accreditation can be acquired via the contact below. A select number of tickets will be made available to the public.

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photographer BY savvas challoumas

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“

__A Designer in many ways, is like a spider-web. Each element of the design needs to connect to all of the other parts.

So, the designer has to be an architect, making sure that everything balances and holds together as a coherent whole.

d&ad NEWS

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The Documentary

4 The White Pencil The Annual

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__This year’s D&AD Annual will feature 50 bespoke dust jackets created by legends of design. Icons like David Bailey, Bob Gill, Paul Smith, Nick Park, Alex Taylor, Peter Saville and Neville Brody will contribute new artwork to celebrate D&AD/50.

The book is published by Taschen, will be curated by D&AD President Rosie Arnold and designed by Michael Johnson.

__The White Pencil is the first new Award D&AD has ever introduced.

The award is for a creative idea that changes the world for the better.

In its first year, the White Pencil brief is a collaboration between D&AD and non-profit Peace One Day and is set for an idea that promotes the United Nations’ International day of peace, 21 September. The White Pencil will be presented in November to the work that best executes the brief.

__D&AD’s 50th is the inspiration behind Sky Atlantic’s new one hour documentary on the history of British advertising. Produced by RSA and featuring interviews with Dick Powell, Bob Brooks, John Hegarty, Ridley Scott and many others, the documentary references the impact of D&AD on British culture, and the influence design and advertising has had on our lives.

‘Ad Men’ will be broadcast at 9pm on Monday 26 March to coincide with the season premiere of the fifth series of Mad Men.

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NEW BLOOD

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The very best new talent from the worldwide D&AD Education Network, on show for all to see.

If you require any additional information please contact Ruth Credland. ruth.credland@dandad.org +44(0) 20 7840 1159

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Exhibiting courses will receive additional exposure on dandad.org as the New Blood Exhibition is recreated in the digital space.

We will require certain assets from all exhibitors in order to ensure that your course and student work is visible to the global creative community.

Our website averages 45,000 unique hits a month, so that’s a lot of potential employers browsing the work.

The New Blood Festival will also be spreading further afield with events held in leading creative agencies and studios in leading creative cities around the world as well as in London.

In fact, we’ll be creating a fuss about emerging talent throughout the month of June, culminating in the New Blood Exhibition & Festival, the Student Awards Ceremony and the launch of the Graduate Academy.

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{1} The exhibition will be held at

Old Spital fields Market In the heart of the creative hub that is east London, between

Tuesday 26 & Thursday 28 June.

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{2}

Booking a stand __To exhibit at New Blood you need to be a member of the D&AD Education Network. *Each exhibiting member can invite one guest course from their institution to exhibit.

The exhibition will be held in an enclosed, secure area within the Old Spitalfields marketplace.

Each stand costs ÂŁ1,500 +VAT (if applicable).

Booking deadline: Friday 30 March 2012

Exhibitors Schedule Tuesday 26 June

Wednesday 27 June - Schools Day

Thursday 28 June

08:30 - 14:00 Colleges get in 14:00 - 16:00 Best New Blood Judging 14:00 - 16:00 Penultimate Year Student Reps Best New Blood Judging 16:00 - 18:00 Student Awards Presentation (next to exhibition space, invite only) 18:00 - 21:00 Industry Private View & Best New Blood winners revealed (4 places per stand + 2 VIP invites per member)

Festival events run throughout the day along with events and tours for schools.

Festival events run throughout the day, including events for tutors

09:30 - 19:00 Exhibition open to the public (Last entry 18:00) 10:30 - 11:00 Penultimate and Final Year Student Reps meeting 18:00 - Best New Blood Winners Presentation

09:30 - 16:30 Exhibition open to the public (last entry 15:30) 10:00 - 13:00 Portfolio Surgery for students of Education Network Member courses (4 appointments per member course) 14:00 - 16:00 Education Network High Tea for Tutors 16:30 - 18:30 Colleges get out

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{3}

Stands comprise of 7 panels.

Each individual stand measures 2m in depth, is 3m wide and 2.5m high. See image below.

[ [

__Stands include a single electric socket, 3 spotlights and wireless internet connection plus a table and a chair (if you require them).

Single stands can be easily combined to make larger stands.

“

New Blood presents the work of graduates in graphic design, visual communication, advertising, digital media, illustration, photography and other commercial creative arts.

__Booking a stand also means you will get priority places for the New Blood Festival, a wealth of of online exposure for both your course and your students, as well as access to key events such as the Private View.

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The international Festival of industry- led activity prepares students and graduates to enter the world of work.

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Stories Read Differently

{ __Assenda’s Ofixpres Highlighter is used to illustrate the principle, “Everybody reads the same story differently”, in this award-winning print advertising campaign from Colombia. __Don Quijote, Le Petit Prince and Moby Dick are illustrated in ways that reveal altered interpretations depending on reader. __The campaign won a Silver Lion at Cannes International Festival of Creativity, 2011.

{1}

Le Petit Prince Le Petit Prince __(The Little Prince) was written by Antoine de Saint-Exupéry. Moby Dick was written by Herman Melville.

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the lion of the month

CREDITS

Advertising Agency: Y&R Bogotá, Colombia Executive Creative Officers: Tito Chamorro, Victor Osorio Chief Creative Officer: Mauricio Rocha Creative Director: Juan Camilo Valdivieso, Oscar

{3}

El ingenioso hidalgo don Quijote de la Mancha __(The Ingenious Gentleman Don Quixote of La Mancha) was written by Miguel de Cervantes.

Muñoz Art Director: Oscar Muñoz, Sebastian Otoya Copywriter: Juan Camilo Valdivieso, Andres Celis Illustrator: Juan Fernando Sierra Published: January 2011

{2}

Moby Dick Was written by Herman Melville.

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"T HIN KN OW

DES IGN

LAT

ER

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the quote WALL

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INTERVIEW

BY Ninart Lui http://designtaxi.com/

This weeks feature is an interview between and

TAXI Design Network

Wally Olins, the Chairman of Saffron Brand Consultants

TAXI >>Hello Wally. Visual and copy come straight to the mind when we talk about branding. You are a leading practitioner of corporate identity and branding. What are your thoughts on using audio to build brands?

Wally Olins>> Well, I think one has to remember that everybody’s got different senses. We all have 5 senses at least - we hear things, see things, smell things and touch things, and the prime medium for branding at the moment, or has been, seeing things, but increasingly, as product brands become less important, or - putting it another way - as service brands become more important, the way people behave becomes very significant.

So, for a brand, the way people behave is very very significant.

Let me give you an example from your own world – Singapore Airlines is probably the best as far as behaviour is concerned, or the way people see it is concerned. Not because of the way it appears or looks like, not visual or audio, but the way people within the organization behave to their passengers or customers. My answer to you is: audio is one of the senses of course, audio is important, but the real issue is service brands and the way service brands operate in terms of the way people behave to each other. In this aspect, Singapore Airlines is a classic example of a brand which understands that its primary function is to make people feel good. In other words, behaviour is the key issue in service branding.

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TAXI >>According to Chris Thompson of Electronic Arts Asia, the video game industry, valued at $33 billion in 2006, is projected to hit $50 billion in 2009. Do you think video games are a potential vehicle for advertising and branding?

Wally Olins >> I think all of these new techniques and technologies are very significant, and they’re growing, and make old fashioned media advertising look slow, out of date and crude. So I believe that the extension of branding into the interactive digital world is important largely because people can respond when you’re dealing with interactive medium, where I can say something to you in advertising and you can respond to me. Therefore yes, I think there will be a huge increase in this kind of thing.

TAXI >>In your website, you enthused about teaching. Not only are you a visiting professor at a few business schools, you provide professional consultancy and hold seminars on branding and communication issues around the world.

Recently, you wrote a book. What do you make of current brand literacy? In your opinion, what more can be done to raise the level of education on branding?

Wally Olins>>I think that there are a number of complicated issues here. The first one is that the word “brand” means very, very specific things to different people. Branding originally meant products that were on the supermarket shelf which had a kind of existence in the fast moving consumer goods world. >

http://www.wallyolins.com/ TAXI >>Your article in The Times Magazine, “Why brands are good for you”, talked about brand mutation — apart from businesses, brands describes individuals and organizations too.

Given your specialized expertise, how can brands build value in an environment where everything and anything can be considered a brand?

> Increasingly, branding is coming to mean a much bigger world than that - so in a sense, if you’re looking at what branding means today, you have to understand that it represents things like image, identity, reputation, belonging and a whole series of words that are much bigger than the original meaning of brand. __The reason why “brand” being used increasingly in world of commerce, is because “brand” equals money. People pay lots of money to be associated with brands, and that means something much more specific than corporate identity or reputation, which is not so clearly associated with economic benefit. So the word “brand much misused, much misunderstood and much maligned - but broadly speaking, what it stands for the sense of differentiation you get, the feeling of differentiation you get between one product and another which can be differentiated rationally less and less. __There is now no rational difference in other words in price service quality between one petrol station than another – one petrol station tries to distinguish itself emotionally rather than rationally – and that is the question that lies behind the question.

“It isn’t just governments that don’t comprehend”, Olins disagrees, “it’s the whole world and how they operate.”

Wally Olins>> Well that really relates to my last awnswer I gave to the previous question - the reason why people get so attached and associated with brands the reason why like them so much is because they provide a means of identifying the individual. If a kid walks around in a Nike T-shirt, he is actually saying, “I belong to a particular society, I belong to a particular tribe, I have a particular affiliation, I have a particular social interest in Nike”. It’s a very interesting phenomenon the way people walk around with badges of commercial organizations on them, on their jackets and T-shirts, they are actually advertising products they have spend money buying. The reason why they do that is identify themselves belonging to a particular social group.

>

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> The way you look at luxury brands such as Louis Vuitton or Burberrys, you don’t buy them, nobody buys them - or a t shirt with a crocodile on it like Lacoste - you don’t buy because of the T-shirt’s quality. A T-shirt’s quality, whether or not it has Lacoste on it, is more or less the same. People buy them for purposes of identifying themselves with particular way of life and that product and service underlines that and that’s incredibly significant today, where for the most part where spiritual affiliations are less strong.

Of course, If you look at way religious fundamentalism is growing, the relationship between fundamentalist and the religion is if you like a brand affiliation its saying I belong to a certain way of being that is my identification but most people in world do not have such strong religious affiliation so they use commercial affiliation instead.

If I buy a T-shirt with Lacoste on it, or any brand with big name on it, what I am saying to people is, “I am the kind of person who uses this kind of product – I not only paid for the product, but I’m also implicitly saying I have paid for this product because it represents a sign of my affiliation with this world”. You don’t buy an Hermes handbag in order to carry things around – you’re better off with a supermarket bag. You buy an Hermes handbag because it represents an idea, a socioeconomic idea , it represents an idea of your wealth your sexual orientation all kinds of social and economic ideas. Think of why you buy things.

Isn’t that true?

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TAXI >> Apart from consumer brands, you worked with a number of countries on branding.

Which country would you say is an exemplary model for city branding?

Wally Olins>>What’s interesting about city branding is that until relatively recently a few years ago the idea of a city state was in decline. in 20th century very few city state towards end of 20 and beginning of 21 you see development of a number of city states. Singapore is a classic example of a city state. Another one is Dubai – there are a number of city states developing now and that’s very interesting and recent phenomenon of course 3-400 years ago you had a number of city states. In Europe alone you had Venice and Florence, you had city states all over Italy – but they disappeared when nation state began and now they are beginning to emerge again. So these city states have to present themselves in a world where there is 3 million, or maybe 2 million people, against, competing with having a relationship with China with 1.2 billion people, or India with 1.3 billion people.

They have to present an idea of themselves which is very very singular and different and they have to make a noise in a world where they are very small and their competitors are very big. Inevitably they focus on what makes them different and that makes them focus on their brand. They don’t like calling it a brand because when you’re talking about nations you don’t call it a brand, but if you think about the history of nations, the way in which culturally, economically, militarily and socially, the way they’ve presented themselves – these are all versions of branding. So the city brands that are emerging today – they are using branding techniques which are on the one hand very new because they come from the commercial world of branding, but on the other hand very old, because nations have always had flags, they’ve always used propaganda, and other ways in order to educate people to build a patriotic view of their nation. So some of it is new, and some of it is old, but basically the word is new but the ideas are traditional. City state is in itself a new form – it nearly died for a very long time and now it’s back again. >

> If you’re talking about branding a city, the city has to have a personality, it has to have a character, it has to have a culture, sport is very important with a city. A lot of cities derive strength from their football clubs. Manchester, for instance – Manchester United is the most famous aspect of Manchester, and a lot of people from all over the world who support Manchester United know nothing about Manchester at all, so sporting success and prowess is very significant in respect of presenting an idea of the city. Also, culture is very important and sometimes that is associated with all kinds of other factors as well. One of the most successful cities in the Mediterranean is Barcelona and they used the opportunity of the Olympics in 1992 to project an entirely new image of what Barcelona stood for.

Adding on, Olins strongly believes that, “until there’s a real bond between the creative arts, the way we teach people and business, everything else is a waste of time”.

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TAXI >>You were the recipient of a CBE in 1999 and you were nominated for the Prince Philip Designers Prize. A year later, you received the Royal Society of Arts’ Bicentenary Medal for your contribution to design and marketing.

Add to that very impressive accolade list the D&AD President’s Award in 2003 for Lifetime Achievement and the Reputation Institutes’ inaugural Decade Award in 2006. As a celebrated veteran, do you think content is still king? Or has technology stolen the crown?

Wally Olins>> Content is still king of course!

Why wouldn’t it be?

“The problem is not just the government alone; it’s an industrial, commercial, academic problem.

Most universities and proper business schools do not take creativity seriously.”

No, no, no, no, technology is a tool. That’s quite wrong. No, technology is a tool you use but there’s no substitute for creativity. Technology is very useful because you use it to do all kinds of things you couldn’t do before. You can have a telephone call with me now, you can send me emails and we can talk about one thing or the other, but it’s the content – it’s what you’re saying and thinking and what you produce. Technology is the tool you use to facilitate. No, that’s quite wrong, in my judgment. Quite wrong.

TAXI >>Marketers has got their money on the youth audience. But with globally shifting demographics, what about the retirees who are primed to splurge? Does the graying dollar hold any value?

Wally Olins>>Well you see, speaking as a member of the gray market myself, I naturally think that the gray market is not sufficiently exploited. The reason for that is very clear – most of the people in this game, in this business, are very young, and technology means that if you’re older and you can’t grasp the technology or you can’t use the tools properly. But of course it is the case that as demographics shift, and older people with more leisure and more money to spend are going to be an attractive marketplace, then gradually there will be a shift, and the demographics will mean that there will be more focus on this particular market.

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But you must understand that younger people who dominate the marketplace are inevitably not interested enough, old people are boring and they’ve done it and they’re conservative…There’s all kinds of stereotypes that have hindered the growth of that marketplace, but it will develop, no doubt about it. Just as there are stereotypes about youth, there are stereotypes about age – but it will grow. The market will grow, and there are a few very clever people who understand that, and are exploiting it, but it’s a bit early right now.

TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?

Wally Olins>> I guess that the word I would use would be “Change”.

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TIPS WALL

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article BY bob hoffman http://adcontrarian.blogspot.com/

__Bob has created advertising for McDonald’s, Toyota, Shell, Nestle, Blue Cross, Chevrolet, Pepsico, Bank of America, Seagrams, and more.

He is author of the book, The Ad Contrarian, and the blog of the same name.

10 thinks you don't know

about

advertising, >

1. 99.9% of people who are served an online display ad do not click on it.

>

2. TV viewership is now at its highest point ever.

>

3. 96% of all retail activity is done in a store. 4% is done on line.

>

4. DVR owners watch live TV 95% of the time. 5% of the time they watch recorded material.

>

5. 99% percent of all video viewing is done on a television. 1% is done on line.

> > > > >

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6. The difference in purchasing behavior between people who use DVRs and those who don’t: None.

7. Since the 1990s, click-through rates for banner ads have dropped 97.5%.

8. Since the introduction of TiVo, real time TV viewing has increased over 20%.

9. Baby boomers dominate 94% of all consumer packaged goods categories. 5% of advertising is aimed at them.

10. TV viewers are no more likely to leave the room during a commercial break than they are before or after the break.

todAY

article BY paul arden http://www.paularden.com/

its all my fault If you are involved in something that goes wrong ,never blame others .Blame no one but yourself.

If you have touched something ,accept total responsibility for that piece of work. if you accept responsibility, you are in a position to do something about it.

Here are some common excuses for failure:

>

1. I was a terrible brief .

>

2. I need a better partner.

>

3. There wasn’t enough money to do it properly .

>

4. The director didn’t listen to me .

>

5. I was too busy on other projects .

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6. I wasn’t given enough time .

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7. The client took out the best ideas.

Most of these grievances are everyday on every job.

That won’t change.

The point is that ,whatever other people’s failings might be,you are the one to shoulder the responsibility.

There are no excuses.

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