WWF Ads

Winning Cannes Ads and Other TV Commercials

The funniest, scariest and weirdest advertisements and tv commercials
Cannes: Levi's Ad





Cannes: Niños con Cáncer Ad





Cannes: Zazoo Condoms Ad



Cannes: Seat Belt Ad



cute Indigo, Love of Reading Fund Ad



Funny Veet Ad

Winners Cannes Lions 2009: Mercedes Benz "Dreams" Commercial - Silver Lion

Winners Cannes Lions 2009: Mercedes Benz "Dreams" Commercial - Silver Lion

Cannes: Coca Cola Ad

Cannes Lions 2009 SQUARES commercial AXE

Arranged Marriage Funny Commercial

Cute Diaper Commercial

Fritos Cute Commercial

Green Tea Ad


Budweiser Frog Commercial - Original


Budweiser Frogs Commercial - Tongue Lashing

Budweiser Frogs Commercial - Those Frogs Are Gonna Pay

Budweiser Frogs Commercial - You're One Sick Lizard

Budweiser Frogs Commercial - Frogs & Lizard Electrocution Attempt

Funny Condom Ad


My Mom Said I Could!


Banned Durex Ad

Banned Durex Ad

Banned Durex Ad

Doritos Ad



Funny Finnish Defense Forces Commercial



Finnish Butter Commercial


Finnish Bread Commercial: Hard as Life


Funny Sauna Ad from Sweden




Funny Old Dunkin' Donuts Commercial



Scary Greenpeace Global Warming Ad

Design links

Design Museum London

London's museum of international contemporary design.
designmuseum.org/ 

Golan Levin

Generativity is widely thought to represent the form of New Media arts. However, Golan Levin who uses his versatile skills of an artist, composer, performer and engineer in developing new works and artifacts, seems to think there’s more to it. In the interview for College Undergraduate Research Electronic Journal in 2007 Levin states about New Media: ‘A funny definition that I heard recently was: anything that was created after you were born’. On the other hand, in Levin’s mind this only applies for younger people such as his students. According to Levin generative art can be seen as New Media’s past or origins, as random variations of shapes were created using computer algorithms and printed out as art already 40 years ago. Nowadays Levin sees generativity as only one of the many subgenres of New Media art. (Interview. Nemerov, A. 2007).

Instead, when contemplating the designer’s works from the past couple of years, interactivity seems to be the word of the day. Levin’s installation Eyecode (2007) is constructed of the viewers’ eyes, using a hidden camera. The art work consists of recorded and replayed movie clips that only last the duration between two of the blinks. (Golan Levin’s web site Flong, 2009). The result is an interesting field of moving eyes that reflect the thoughts and emotions of the viewer. As the new clip is always added to the point of field where the viewer is at the specific moment directing his eyes, thus replacing an older clip, none of the old clips can be watched for a long time. This seems to create a recursive dialogue between the changing expressions of the viewer. When contemplating the ocular expressions, one naturally reacts to the emotion conveyed by the video clip and the new reaction then recorded and replayed by the art work in its turn causes a new reaction. Golan Levin has thus managed to create a continuous, interactive chain of reactions, emotions and thoughts. This wasn’t his first work on interactivity, but in 2007 the technology used was pioneering in New Media arts.

Eyecode by Golan Levin, 2007

http://www.flong.com/projects/eyecode/


When the Eyecode installation was still under way, Levin was interviewed about his forthcoming exhibition. He told he was working on artwork that could be created and destroyed by the visitor’s gaze, using eye-tracking technology. Such had been earlier used only in military projects, and the challenge would be to make it suitable for gallery visitors. Levin was especially interested in the interactivity between the viewer and the artifact itself and stated that to preserve the contingency of the conversation between those two, the messages should be reliant on the previous messages and their relations. (Interview. Reinhard, U. 2007).

However, in Levin’s plans to create ‘an intense and long-lasting feedback cycle established between the user and the artifact’ (Interview. Reinhard, U. 2007) that wouldn’t be based on just one-sided communication, the Eyecode was just a predecessor compared to his next works of art. Levin continues the research on interactivity and in his next pieces tries to answer to the base question of the communication between art and its viewer: ‘What if artworks could know how we were looking at them? And, given this knowledge, how might they respond to us?’ (Interview. Giddins, T. 2009).

His next work of art was thus Opto-Isolater which also tracks facial and ocular expressions and which doesn't only replay the viewers expressions but interprets the expressions and responds to them by itself.

Opto-Isolator by Golan Levin, 2007

http://www.flong.com/projects/optoisolator/




References
Nemerov, A. 2007. Within, Without. New Media and the White Cube.
College Undergraduate Research Electronic Journal.                                            
Available from: http://www.flong.com/texts/interviews/interview_nemerov/      
[accessed 10 October 2009]


Golan Levin’s web page, Flong: Eyecode                                                              
Available from: http://www.flong.com/projects/eyecode/                                     
[accessed 10 October 2009]


Reinhard, U. 2007. Interview of Golan Levin.                                                                                
Available from: http://www.flong.com/texts/interviews/interview_reinhard/       
[accessed 10 October 2009]


Giddins, T. 2009. Interview of Golan Levin.                                                              
Dazed and Confused magazine.                                                                             
Available from: http://www.flong.com/texts/interviews/interview_giddins/         
[accessed 10 October 2009]


Bibliography
Mancuso, M. 2009. Interview of Golan Levin.                                                            
Direct Digital exhibition catalogue.                                                                       
Available from: http://www.flong.com/texts/interviews/interview_direct_digital/
[accessed 10 October 2009]


Golan Levin’s web page, Flong: Opto-Isolator                                                      
Available from: http://www.flong.com/projects/optoisolator/                               
[accessed 10 October 2009]


Wikipedia: Golan Levin. 2009.                                                                              
Available from: http://en.wikipedia.org/wiki/Golan_Levin                                   
[accessed 10 October 2009]

The Logorama, Oscar 2010 best animated short film

Check out the Logorama Oscar 2010 best animated short film here! 

Coca Cola vs. Pepsi

The best known history line of logo design must be the comparison between Coca Cola and Pepsi. But is it a truthful comparison? This picture got around a few years ago and has after that been much talked of on blogs and forums. It's a timeline that shows the evolution of the logos of both companies from the late nineteenth century to this day. It lets us understand that where Pepsi logo has changed through years, Coca Cola's has remained the same. This timeline might wittily suggest that only the best things last forever. The comparison is a disgrace to Pepsi's fickle and constantly varying logo next to Coca Cola's ever-lasting design.

The time line is funny and memorable indeed, and strengthens the already strong image of Coca Cola's triumphing victory over Pepsi throughout years whereas Pepsi struggles with new brand images decade after decade. And it's true that the best designs last unaffected by time. Coca Cola's hasn't, though.

Coca Cola's brand has stayed remarkably unchangeable but there have been changes through years. The company started out in 1886 and the brand name first appeared in the Atlanta Journal Constitution the same year in sans serif. The so well-known logo was outlined only in 1887 by Coca Cola's bookkeeper Frank Robinson. During the first decades the script logo got different variations as it was traced over and over again. It isn't until the 1930's and 1940's that a clear interpretation of the logo appears and is used consistently in Coca Cola marketing and branding. 


One of the biggest changes in the Coca Cola identity must be the "fish tail" logo used in 1950's and 1960's, in which the script logo is placed within a red shape. Also the wave which nowadays can be seen in almost every logo of every company was introduced in the 1960's to the traditional script style logo. 


A more remarkable identity change was the year 1985's total marketing failure when the company tried to launch in United States a completely new Coca Cola taste introducing "New Coke". The idea was to beat Pepsi which had in late seventies, early eighties started to outsell Coke in supermarkets, as the new generation favored Pepsi and it's sweetness. The reaction to the change of taste was poor, and the original formula was reintroduced re-branded as "Coca Cola Classic" in less than three months. This resulted in a significant gain in sales. 

The company's chief marketing officer, Sergio Zyman sums it up:
"Yes, it infuriated the public, cost a ton of money and lasted only 77 days before we reintroduced Coca-Cola Classic. Still, New Coke was a success because it revitalized the brand and reattached the public to Coke."


It has been later speculated that the whole "New Coke marketing blunder" was created on purpose to upset the consumers, grow the demand for the original product and to conceal the changes in the taste of the original product as the final derivatives of coca were removed from the product.




















Thank you for Brand New for the chart!

Lasting Logo Design

Ranking good and bad designs, logos and idents, one of the indicators could be how long the logo is usable before it must be completely renewed. Naturally some minor changes are due to new technology to even the best of logos. Here are some of the ever-greens and ever-changing: Coca Cola, Alfa Romeo, Apple, Aston Martin, BMW, Esso, FedEx, Ford, GE, IBM, Lego, Nike, Peugeot, Renault, Shell, Siemens, Starbucks, WWF, McDodald's, Best Western, Bassetti...

I was going to include McDonald's in the category of never-changeing logos but apparently McDonald's – among several other companies – is going green.

   

The logos are all around in our environment and shape our way of thinking and observing our surroundings. And the latest prove of that is the 2010 Academy Award winner for the Best Animated Short Film, Logorama.