Tagged: Australia

Le Brass Branding by Tatabi Studio“Le Brass is a Sleek &…

Le Brass Branding by Tatabi Studio

“Le Brass is a Sleek & Stylish Homeware Brand, born in Australia. The company asked us to create a feminine, minimalist brand, with a touch of elegance and luxury. Nature, relax & paradise beaches, combined with luxury textures as bronze and marble. We designed for brand: logo and stationery. We developed the Brandbook, marking design guidelines for all communication pieces.”

Tatabi Studio is an independent graphic and web design studio based in Dublin with local & international clients. Their main services are Branding, Graphic Design, Web Design, Illustration & Packaging. Studio’s mission is to provide the best brand image and communication strategy for any type of businesses, whether new or existing.

Article originally appeared on The Design Blog: Link.

The Great Bonza

Designed by United Power | Country: Sweden “Bonza is an Australian expression that describes the feeling that spread through the body before you exclaim “hurray!”. Something is bonza if it is superb and amazing, but at the same time laid back and relaxed. People and places can be bonza. This wine is. Therefore, it was namned The […]

Article originally appeared on Lovely Package: Link.

The Great Bonanza

Designed by United Power | Country: Sweden “Bonza is an Australian expression that describes the feeling that spread through the body before you exclaim “hurray!”. Something is bonza if it is superb and amazing, but at the same time laid back and relaxed. People and places can be bonza. This wine is. Therefore, it was […]

Article originally appeared on Lovely Package: Link.

Diet Coke Prints Literally Millions of Unique Labels for New ‘It’s Mine’ Campaign

Diet Coke is embarking on a fun new packaging stunt in the U.S., using HP Indigo digital printing technology to create millions of completely unique labels—in a campaign appropriately themed, "It's Mine."

Every 12-ounce glass bottle will feature a different design—no two bottles will be the same. A select number of patterns will be seen on 7.5-ounce mini-cans, 8.5-ounce aluminum bottles, 12-ounce and 16-ounce cans and 500-millileter and 20-ounce PET bottles.

This is also the first time Diet Coke is selling a 12-ounce glass contour bottle in the U.S.

If the packaging stunt looks familiar, that's because Diet Coke did the same thing in Israel last year. Importing a successful overseas packaging effort to the U.S. is becoming something of a tradition for Coca-Cola, whose popular "Share a Coke" campaign, with names on bottles, originated in Australia before being used here.

The campaign will be supported by advertising from CAA Marketing, including two 30-second TV spots (one is posted above), digital video, social content and in-store, print and out-of-home advertising. Check out those materials, and lots more designs, below.

"It's Mine" celebrates "the unique love Diet Coke fans have for the brand," according to a statement. "Every Diet Coke drinker is different and unique, and with millions of Diet Coke designs, fans can choose the one they feel is uniquely their own." 


Article originally appeared on Adweek Advertising & Branding: Link.

A Claw Machine Dispenses Sunscreen on This Cool Beachside Bus Shelter Ad

Sun protection has become a game at Bondi Beach in Sydney, Australia.

Cancer Institute NSW, JCDecaux, UM and Soap Creative teamed up to build mechanical-claw-game-style SPF50+ sunscreen dispensers to motivate beachgoers into taking skin cancer a bit more seriously. 

The larger "Pretty Shady" campaign is meant to raise awareness of skin cancer and its causes and risk factors. It also includes bus shelter wraps around Sydney to keep commuters out of the harsh sun. 

The shelter wraps are a nice courtesy, and the "lucky grab" sunscreen dispensers are a great idea that should be adopted as a public service, like water fountains or restrooms. It wouldn't hurt to adopt this practice in the U.S., either, given the 70-degree Christmas many of us just had.

Via The Inspiration Room.

Article originally appeared on Adweek Advertising & Branding: Link.

Australia’s ‘Stoner Sloth’ Anti-Marijuana Campaign Is an Instant and Classic Fail

There's a long and not-very-proud tradition of anti-drug advertising that gets ridiculed for missing the mark with young audiences. Australia's New South Wales government just added a classic new entry to that hall of shame with #StonerSloth, a campaign designed to shame teens who get high—but who are finding the ads hilariously delightful instead.

In three short videos, marijuana has turned teens into giant sloths—and the metaphor is made literal, as the kids are actually depicted as giant hairy beats with long, curved claws. Socially, they're utterly useless. All they can do is moan, since they're so high. And they can't take tests at school, make small talk at parties, or—most comically, if unintentionally so—even pass the salt at dinner.

"You're worse on weed," claims the tagline.

The campaign is so cartoony and weird that teens, rather than learning any lessons from it, are embracing it as one big joke. There are already parody videos, endless Twitter jokes—and even a "Pass the salt" sloth T-shirt for sale.

The New South Wales Department of Premier and Cabinet is standing by the campaign, at least for now. "The 'Stoner Sloth' public awareness campaign has been designed to encourage positive behaviors in young people before bad habits start, and motivate discontinued use of cannabis before they become dependent," a rep said in a statement. "The campaign is designed to appeal to, and be 'shareable' among, teenagers, who are some of the most vulnerable to cannabis use. We know that younger audiences respond more to campaigns highlighting the short-term consequences of their actions."

Well, it certainly is shareable, which is more than you can say for many such campaigns. Of course, that came at the price of becoming a laughingstock. Indeed, even Australia's National Cannabis Prevention and Information Centre has disowned the work.

Check out the best of the Twitter reaction below, including a couple of tweets from New South Wales premier Mike Baird. 

Article originally appeared on Adweek Advertising & Branding: Link.

It’s Long Past Time for Creative Agencies to Move Outside Their Comfort Zone

Current gig President and CEO of DDB New York
Previous gig CEO of DDB Group Australia
Twitter @brownchrisd
Age 41

Adweek: As an executive who spent much of your career in Australia and the U.K., what are some differences you have noticed since moving to the States?
Chris Brown: Of course, there are lots of differences, but I was more struck by the similarities. All clients are experiencing a level of disruption that creates opportunities and challenges, and conversations with clients here indicate that what they are looking for and the things keeping them awake at night are really similar to those in Sydney, London and Shanghai. For example, how do brands become more purpose driven? How do they use paid and earned media more effectively? How can they behave more like publishers?

What are the key elements that play into assembling a great team on the agency side?
[DDB co-founder] Bill Bernbach said, "Life is too short to sacrifice so much of it to living with a bastard." Advertising can be a great business to work in, but it helps to work with people who are not only talented but also nice. One of the things I've done in New York is to launch "The Four Freedoms," which [DDB chairman] Keith Reinhard invented 15 years ago: freedom to be, freedom from chaos, freedom from fear and freedom to fail. It's a nice way to codify talented and nice in order to build a dynamic and agile agency.

What does "culture" mean to you in this context?
For me, it's an element of clarity: identifying a North Star and figuring out how we can galvanize a team to reach that point. Three months ago, we developed a culture working group called Spark and invited everyone in the agency. Spark gives them a voice on initiatives small and large as they work with our leadership team.

Do agencies need to expand their horizons on the talent front to extend beyond advertising?
I think it's absolutely critical. While I was in Australia, we changed the name of McDonald's to Maccas for Australia Day, did a big PR push and won at Cannes. The idea came from a person on the PR side at Mango, and as we think about the balance of paid, earned and owned ideas, having such people on the team is very important.

How does that balance play into building a strong creative campaign?
Platforms may change, but the most powerful creative content still starts with a true human insight. For our [MTV] Video Music Awards Clean & Clear campaign, the team came up with the idea that the most important acceptance speeches are the ones that we give to ourselves. We created a fantastic film, we had a newsroom at Twitter that engaged with real-time conversations, and we got great results by combining social, paid, real-time marketing and the work of our partners. The next day, we didn't do a big PR push, so it was quite organic. The headlines read "Clean & Clear Wins the VMAs," or words to that effect.

What is the most important thing "traditional" agencies need to do to stay relevant?
We're not a traditional agency. Yes, we have a fantastic history and equity—but for me, a modern agency works at the intersection of creativity, data and technology. So we are significantly deepening our skill sets in data analytics, UX and social capabilities, and we just hired a Heineken veteran [Chiara Martini] as our head of social strategy. It's all about building the agency to play at that intersection. We are on a journey, and I'm excited about where we're heading.

This story first appeared in the Dec. 14 issue of Adweek magazine. Click here to subscribe.

Article originally appeared on Adweek Advertising & Branding: Link.