Post pobrano z: We Are America – Love has no labels
The Ad Council’s “We Are America” commercial, part of the Love has no labels campaign, is one of the nominations for Most Outstanding Commercial at this year’s Emmy Awards. Launched for Independence Day 2016, the We Are America ad featured American professional wrestler, rapper, actor and reality television show host John Cena reflecting on patriotism and love of country. Having invited his viewers to close their eyes and imagine the typical American, he proceeds to walk through the streets, providing statistics on the exceptions to the white male stereotype with representatives of these groups appearing in the background. The commercial celebrates love and acceptance of all communities regardless of race, religion, gender, sexual orientation, age and ability. The commercial was supported by a wide-ranging digital campaign, including an opportunity for people to submit photos to demonstrate the diversity that makes up America.
The Ad Council’s introduction to the YouTube video: “While the vast majority of Americans consider themselves unprejudiced, many of us unintentionally make snap judgments about people based on what we see – whether it’s race, age, gender, religion, sexuality, or disability. The Love Has No Labels campaign challenges us to open our eyes to our implicit, or unconscious, bias and work to stop it in ourselves, our families, our friends, and our colleagues. Rethink your bias at www.lovehasnolabels.com“.
The Ad Council was able to partner with major American brands, including Coca-Cola, PepsiCo, Procter & Gamble, Unilever, State Farm, Google, and Johnson & Johnson.
The We Are America campaign was designed to encourage Americans to define their love of country as love of all Americans and to challenge the assumptions of what defines an ‘average’ American — likely different from the person imagined. The spirit of inclusiveness is evident in the labels that Americans use to define themselves — Latino, disabled, lesbian, Muslim, senior citizen, African American and others.
“At a time when it feels hard for our country to find common ground, we need to remind audiences that to celebrate America is to celebrate all Americans. We’re so proud to continue the Love Has No Labels message as part of the 4 July holiday and throughout the year,” said Lisa Sherman, president and chief executive of The Ad Council.
To ensure that the PSAs represented the right diverse perspectives and addressed the issue of implicit bias, The Ad Council enlisted The Perception Institute, Southern Poverty Law Center and Anti-Defamation League.
“It’s a privilege for us to continue working with The Ad Council. Like last year, the power of the campaign came from its honesty. To celebrate the real America is to celebrate the real people that make up this country,” said Nick Law, vice chairman, global chief creative officer, R/GA. “As someone who moved to the US 22 years ago, I’ve benefited from the openness and generosity of this country. And it’s this inclusive spirit that now makes me proud.”
The We Are America campaign’s online socialisation was supported by Upworthy, Facebook, Twitter, Buzzfeed and WWE, driven by the #WeAreAmerica hashtag. In addition to Cena’s participation, WWE leveraged its global platforms including WWE Network, television broadcasts, live events, and digital and social media to support the campaign.
We Are America Credits
Ad Council staff on the campaign were director of client services Priscilla Natkins, campaign manager Heidi Arthur, campaign director Trace Danicich and Jenn Walters, assistant campaign manager Madeline Miller, PR and social media team Ellyn Fisher and Shirley Yeung.
The We Are America campaign was developed at R/GA by global chief creative officer Nick Law, group executive creative directors Eric Jannon and Chris Northam, associate creative directors Thomas Darlow, Rene Van Wonderen, Lucia Orlandi, Paul Wood, Eduardo Quadra, Shashank Raval, senior visual designer Bethany Kennedy, designer Ria McIlwraith, experience designer Tessa Ndiaye, junior art director Emily Uram, junior copywriter Lukas Pearson, executive production director Cindy Pound, executive production director Cindy Pound, executive campaign producer Jeff Shutnik, digital producer Lucas Dennison, group strategy director Dylan Viner, strategy director Dave Surgan, senior social strategist Emily Kearns, strategist Amy McEwan, executive technology director Micah Topping, lead architect Josh Hansen, senior QA engineer, senior software engineer Wade Wojcak, global chief marketing officer Daniel Diez, PR director Suzanne McGee, business affairs director Stephen Bernstein, executive production director Kat Friis, post producer Leanne Diamond, senior content producer Ashlye Vaughan, business affairs senior manager Joanne Rotella, stills photographer Shima Green, business affairs coordinator Madeline Gioia, art producer William Morel, associate producer Danielle Sessler, and production assistant Shakirah Tabourn.
Editor was Dan de Winter at Rock Paper Scissors.
Visual effects were produced at Nice Shoes by colourist Chris Ryan and Flame artist Jason Farber.
Post pobrano z: Squarespace Calling John Malkovich
Squarespace commercial “Calling John Malkovich” is one of the nominations for Most Outstanding Commercial at this year’s Emmy Awards. The Super Bowl commercial is a continuation of the Squarespace campaign in which John Malkovich sets out to establish an online fashion design business. Things get tricky when he discovers that a namesake has already got the domain name, johnmalkovich.com, to host the ultimate fishing site. “Who is John Malkovich” shows John’s discovery of the competitor and the drafting of an expletive-filled email. There’s a reference to the film, “Being John Malkovich”. And then, “Calling John Malkovich”, with a 30 second Super Bowl commercial and a 50 second director’s cut, we get the sense that John Malkovich and the owner of JohnMalkovich both have a temper that’s hard to control. The campaign is online at squarespace.com/john, with the message, “Search for your domain and grab it before someone else does. The domain name johnmalkovich.com, has been with John since 2004, when it promoted the online performance art site johnmalkovich.org, the menswear collection site johnmalkovichcollection.com and design agency site mrsmudd.info. But the Squarespace connection has been live since January 2017, as seen on our earlier post, John Malkovich on Squarespace.
“In contrast to the over-the-top Super Bowl ads, we wanted to cut through with simplicity,” says John McKelvey, executive creative director and co-founder of New York advertising agency John X Hannes.
“An intimate, relatable moment of panic. The creative was designed so we first experience John discovering his domain is taken in the pre-game spot. Then we all get to enjoy John Malkovich calling John Malkovich to ask for it back during the in-game commercial. Inspired by real world events and the domain JohnMalkovich.com.”
“No one knows an identity crisis better than John Malkovich, nor could there be a better actor to communicate the emotion and humor of this modern dilemma,” says Hannes Ciatti, executive creative director and co-founder.
“Get your domain before it’s gone plays with the universal fear of discovering you’re not the only one with your name and your online identity is taken by someone else.”
Calling John Malkovich Credits
The Calling John Malkovich campaign was developed at John X Hannes by executive creative director Hannes Ciatti and John McKelvey, senior art director Conor Hagan, senior copywriter Matt McCarron, executive producer Kristine Ling, head of client management Verena Zannantoni, senior planner Iain Newton, operations director Karen Lo.
Business affairs were produced at Waving Cats Productions.
Filming was shot by director Miles Jay via Smuggler with director of photography Chayse Irvin, executive producers Allison Kunzman, Patrick Milling Smith and Brian Carmody, production designer Carly Reddin, stylist Jurgen Doering, US line producer Alex Orlovsky. Production in Paris was by producer Catherine Guillot at Premiere Heure.
Editor was Chan Hatcher at NO6.
Post pobrano z: Ad Council Fans of Love – Love has no labels
“Fans of Love”, the Ad Council Love Cam commercial launched on Valentine’s Day 2017, has been nominated for Most Outstanding Commercial in the Emmy Awards. The Fans of Love commercial, part of the Love Has No Labels advertising campaign, began as a live stunt at the 2017 NFL Pro Bowl in Orlando in January, taking the kiss cam game feature, the jumbotron, to a new level. The unbiased camera centred on a range of people, celebrating many forms of love – friendships, families and romantic relationships – across race, religion, gender, sexuality, ability and age.
Faces of Love Site
The Fans of Love campaign directs audiences to lovehasnolabels.com/faces-of-love, which features a quiz to help people examine their own biases and resources on how to take actionable steps to rethink those biases. An interactive “Fans of Love” video presents relevant campaign facts and links to educational content to audiences as they are watching the film. The campaign taps into the expertise of six leading non-profit organisations including, Anti-Defamation League, Southern Poverty Law Center, Human Rights Campaign, American Association of People with Disabilities, AARP and Perception Institute. To show their support for creating a more accepting and inclusive community visitors can use the “Faces of Love” tool by adding the iconic Love Has No Labels frame to their photos and purchasing Love Has No Labels merchandise in the campaign shop.
Creating the Campaign
Most Americans agree that people should be treated respectfully and fairly. Yet many people in the United States still report feeling discriminated against. One of the main reasons is because we’re actually discriminating unintentionally. We do 98% of our thinking in our subconscious mind, and that’s where we collect and store implicit biases. Implicit bias influences how people are treated and how they interact with each other. It can also perpetuate disparities by altering someone’s ability to find a job, secure a loan, rent an apartment or get a fair trial. To end bias, we need to become aware of it first, especially in ourselves. The Love Has No Labels campaign targets all Americans and aims to combat bias, by flooding culture with messages that are inherently non-bias. They aim to normalize all types of love and relationships simply by integrating these types of love into the content they produce. Our message of love quickly spread through culture, starting a conversation about bias, and what love looks like in America. So much so, that we are rolling out Love Cam partnerships with every major sports league in America (NFL, NBA, NHL, MLS) to transform their Kiss Cams into Love Cams. Meaning, we didn’t just insert our message into culture, we changed culture.
By partnering with the NFL (known for having more traditional and conservative fans), we were able to appeal to both right and left winged media and viewers: with our message of love being a featured story by the likes of Fox TV and Breitbart News Network, all the way to the New York Times, USA Today, Huffington Post and even Ellen DeGeneres.
“On Valentine’s Day ‘Fans of Love’ highlights that love has the power to bring people together regardless of our differences – a message that is more important now than ever,” said Lisa Sherman, president and CEO of the Ad Council. “We hope that this new creative will encourage all of us to reflect on our own biases and the role we can play in creating a more accepting and inclusive world.”
The fully integrated campaign also included support and activations from key partners including NFL, social platforms and publishers. In addition to debuting the “Fans of Love” cam at the Pro Bowl, NFL will used its platforms including donating time on NFL Network, as well as other fan-facing vehicles, to support the campaign. Upworthy, a 2015 campaign launch partner, continued its support for Love Has No Labels by featuring “Fans of Love” on its social channels. Tumblr supported “Fans of Love” by sharing the video with their Post It Forward community to amplify the campaign’s call to action to the user base at large, as well as hosting an Issue/Answer time in the upcoming months. Facebook, Kargo, ESPN, VOX, Bauer and Little Things extended the campaign message through donated media support on its respective platforms. Hearst shared “Fans of Love” through Seventeen’s and Cosmo’s social channels, and SheKnows and Fatherly are supporting through its respective social channels as well. Publicis Media conducted donated media outreach on behalf of the campaign. Jack Morton Worldwide, a global brand experience agency, has joined the campaign to help extend the “Love Has No Labels” message through social activations on the campaign’s social communities.
Fans of Love Credits
The Fans of Love Love Cam campaign was developed at R/GA by chief creative officer Nick Law, executive creative directors Chris Northam and Eric Jannon, creative directors Chris Joakim and Mike Donaghey, creatives Alberto Portas and Alfredo Adan, content producer Ashlye Vaughan, executive producers Jeff Skutnik, Kat Friis, and Cindy Pound, chief marketing officer Daniel Dies, business director Stephen Bernstein, business affairs coordinator Melissa Naimi, strategy director Dave Surgan, strategist Amy McEwan, group strategy director Dylan Viner, group account director Shawn Zupp.
Editor was Robert Ryang at Cut + Run with edit assistant Dan Gutterman, executive producer Lauren Hertzberg and producer Ivannah Flores.
Visual effects were produced at The Mill, New York, by colourist Damien Van Der Cruyssen, colour producer Natalie Westerfield, executive producer Dee Allen, colour coordinator Elizabeth Angle, colour assist team Nate Seymour, Zack Wilpon and Daniel Moisoff, VFX artists Joseph Grosso and Matt Dolven, producers Ivannah Flores and Wendy Gardner.
Sound and music were produced at Nylon Studios by executive producer Christina Carlo, sound mixer Rob Ballingall and producer Halle Petro.
Music is “Show Me Love (feat. Chance the Rapper, Moses Sumney, and Robin Hannibal) [Skrillex Remix]” – Hundred Waters
Post pobrano z: A shift in focus with Sebastian Baptista
In this Motionographer Q&A, we take a peek at some of Sebastian Baptista’s wonderful new work and chat with him about what he’s been up to these past few years and where he’s heading.
Post pobrano z: Common Insects of North America
Post pobrano z: Art History: Neoclassicism and Romanticism
back to our series on art history! From the lands of Africa, we
now venture onward to experience art from the Neoclassical era and Romantic period.
Let’s see how history significantly affected the art of this time.
The Age of Enlightenment
During the 18th century, a new movement swept through Europe and created a radical change in politics, science, and art. The Age of Enlightenment was partially a reaction to the Industrial Revolution, as the world witnessed the importance of technological innovation for the advancement of humankind.
This age of reason and enlightened thinking dominated Europe, inevitably birthing two important eras in philosophy and visual art. Neoclassicism and Romanticism competed side by side, bringing creatives together to express emotion as well as a love for the classics.
While Neoclassical art was more rooted in paying homage to classical Greco-Roman art, the Romantic era placed the emphasis on encapsulating emotions like fear and horror in visual form.
Even today, both periods have influenced many contemporary artists for their exceptional beauty, exquisite details, and elaborate drama. So let’s check out a few notable artists and innovators from this time.
Often considered the direct opposite of the Romantic era, Neoclassical art had a huge hold on Europe for many years. At the root of its philosophy, Neoclassicism revived the „true style” of classical art the world had come to know from Ancient Greece and Rome.
Painters like Jacques-Louis David made this style famous through the symbolic painting of the Oath of the Horatii. It depicted a Roman legend of two warring cities and stressed the importance of sacrifice for one’s country.
The main characteristics of Neoclassical paintings were de-emphasized backgrounds, organizing the composition around symbolic numbers, and telling idealistic stories of moral triumph and civic duty.
German painter Caspar David Friedrich once said, „The artists’ feeling is his law.” And it was in early landscape paintings like his that the Romantic era began. You see, Romantics believed in expressing the brutalities of human emotion through art.
Powerful compositions erupted during this time, with artists often painting mythical, landscape, or historical scenes focused around a particular message. Romantics rejected the rational ways of Neoclassical artists, and upheld their love of individual expression over the restraints of traditional customs.
Most of what we see in sculpture during this time lends itself to the Neoclassical side of art. The rigidity of marble meant that expressive and expansive gestures were far too limiting for Romantic artists.
Even with very few examples of Greek sculpture still available at this time, sculptors reveled in the classic beauty of an art form they believed to be superior to its Roman counterpart. Successful excavations meant that more people were collecting antique sculptures, not only for museums but also for their own private collections.
At the core of Neoclassical sculpture was this massive belief in a sense of decorum. Idealized faces adorned the bodies of classical heroes dressed in their preferred uniforms. Gestures and emotions were always restrained to place more focus on the idea of „calm grandeur,” beautiful forms, and spiritual nobility.
We can see evidence of this in work from Jean-Pierre Cortot, who created Le Triomphe de 1810. This bas-relief sculpture resides on the famous Arc de Triomphe de l’Étoile in Paris, featuring Napoleon being crowned by the goddess of Victory.
Neoclassical art also saw a wave of interest in the area of decorative arts and pottery. Deemed the Greek Revival, many Greek-inspired etchings and engravings appeared on the walls of famous buildings and homes.
Large columns reminiscent of ancient Greek architecture also became prevalent during this time. And with the discovery that Greeks painted the inside of their temples, many of Europe’s elite drew on this notion for creative inspiration.
This sense of Greek-inspired grandeur also spilled over into the pottery. Napoleon’s reign saw an influx of over-the-top ceramics and decor. Gorgeous gold vases matched the Empire Style interiors to reflect the opulence of the privileged few.
Though different in style, the eras of Neoclassical and Romantic art both became embedded in Europe’s history. Their wide range of culture and influence is a
true testament to
the evolution of art. And I hope you continue to learn more about these
amazing timelines on your own.
For more incredible tales of Neoclassical or Romantic art history, dive into the links below for further reading. And
join me next month when we discuss Impressionism.
- Neoclassical Sourcebook
- European Art of the Eighteenth Century
- The Greek Revival
- Romanticism and Art
The following sources were also included in this article:
Post pobrano z: Another smashing lookalike / Pour l’originalité c’est plié!
Vapona anti-mosquito spray – 2000
Source : AdForum , LIA Awards Finalist
Agency : Leo Burnett London (UK)
Mat-Inset anti-mosquito spray – 2017
Source : Coloribus
Agency : W McCann (Brazil)
Post pobrano z: When you go too fast, so does your music / Pas si vite!
Arteris – Road Safety “Speed O Track” – 2017
Watch the Case Study video
Agency : Dentsu (Brazil)
Rimac Insurance “Speed Limit Songs” – 2017
Watch the Case Study Video
Agency : Young & Rubicam (Peru)