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Brick Award Winners :: 2010 Cycle 1

Posted by: jschwartz in Untagged  on

This spring brought another great judging of partners + napier's Brick Awards. For the first time, every submission garnered votes — a clear indication that the quality of all submissions was on the rise. 

:: BRICK AWARD WINNER :: 

Kodak Reaction Campaign CES Elements

The most important tradeshow for the consumer electronics industry, CES in Las Vegas in January 2010, became the launching pad for the new consumer big play campaign and introduced the new positioning “The real KODAK Moment happens when you share.”  to industry influencers and our retail audiences.

Tradeshow visitors were met by outdoor kiosks around Las Vegas that featured our reaction messages and imagery, trade show daily print ads appeared each day of the show, and the booth leveraged the look-and-feel of our campaign on tradeshow elevation walls and within the various touchscreen sand Surface table experiences throughout the booth.


Credits:
Jeremy Schwartz (SVP CD), Lisa Kreienberg (VP CD), Matt Palmer (Sr. CW), Karrie Gurnow (Sr. AD), James Nunes (Sr. AD), Kim Diamond (SVP Account Dir.), Heather Middlebrook (Accout Sup.), Heather Semmler (Sr. AE), John Roberts (CSO), Karen Kress (Mech artist), Doug Hood (Production), Ashley Moore (Traffic), Erin Dwyer (Proofreader), Christian Witkin (Photographer), Steve Kelly (Photographer - insets & product) 

 

  

 

:: BRICK AWARD RUNNERS-UP ::

Kodak i4000 Series Scanners

Nobody ever raises his hand at a company meeting and says, “I wanna be the scanning expert.” But that


(well, I better give a bit more background before I give up the news)

Here at the partners + napier, we've decided to judge our strategic and creative output throughout the year in three judging cycles, resulting in constructive criticism in the hopes of continually raising our own bar, as well as recognizing the best of our work across our offices. Each cycle typically has one Brick Award winner (hence the name of this blog), and two-to-four runners-up.

Additionally, one Brick winner from throughout the year is chosen as The Best of The Brick. This year, that winning project is The Kodak Entertainment Imaging Pro-Film Campaign.

Here's how the team summed up the campaign targeted to the various segments of the motion picture film market — ranging from features to advertising:

"In our quest to evangelize the merits of film we knew ad-speak wasn’t enough. We decided to celebrate the real benefits and intangible effects of using film through the voices of the filmmakers, producers and postproduction professionals that choose film over digital capture. These were testimonials that truly elevated the importance of choosing film. It’s not just a medium, it’s the voice, the fingerprint, the lifeblood of an industry. It had to be seen as more than essential. It had to become elemental — mandatory to the creative process. That’s why we picked two words to sum up each piece within the campaign: No Compromise."

 

  

  

  

  

  

  

  

  

Click to view some excerpts from the documentary film.


My apologies... I'm extremely late getting these posted, but moving to the Joomla interface is new to me (yes, I'm a dinosaur in terms of this interactive stuff and we all know that work is cranking right now). But we had another incredible round of Brick judging at the end of 2009. Here are the projects that I'm sure we'll get another glimpse of them at the ADDYs in March!

 

:: BRICK WINNER ::

High Falls Rebranding: 360/365

 

  

Credits:

Bob Bailey (President), Daphne Morrissey (CD), Pete VonDerlinn (CD/CW), Katie Woodson (Designer), Jennifer Rampe (Designer), Maureen McDaniel (Designer), Chad Pattison (Designer), Julie Clementi (CW), Kevin Aubry (CW), Brent Layton (IAD), Elaine Naum (AE), Deb Vanderpool, (Proofreading) 

 

:: BRICK AWARD RUNNERS-UP ::

 

Kodak GCG Print09 Tradeshow

  

  

  


  

Credits:

Jeremy Schwartz (CD), Everol Smith (Acct Dir), Jack Jankowski (CGS/AD), VJ Ortiz (CW), Julie Clementi (CW), Heather Semmler (AE), Mike Governale (IAD), Steve Safran (MA), Tony Zanni (MA), Kim Pegg (PM), Ashley Moore, (Traffic), Erin Dwyer (Proofreader)

 

EBCBS “Blue Boxes” TV

  

  

Credits:

Michael Baron (CD), Kurt Jaeckel (AD), Lori Knowles (AE), Matt Palmer (CW), Max Brown (AD), Ashley Moore (Traffic)

 

B&L Fogshield (merit)

  

  

  

  

Credits:

Jeff Gabel (CCO), Michael Baron (CD), Jeff Hopper (CGS/AD), Michael Chatfield (AP), Kevin Aubrey (CW), Matt Palmer (CW), Mary Khuns (AE), Jeff Zielinski (Production), Gail Sklair (MA), Jennny Indivero (Traffic), Steve Safran


Finally, now that Atlanta has met with Jeff late last week and learned of the Brick Award results, this blog post can go out (that's my excuse and I'm sticking with it).

Seemslike partners+napier is really gathering steam as we plow through 2009.

For this cycle of our newly named Brick Awards (formerly Best of The Best), 23 entries were submitted representing a selection of stellar work from Rochester and — for the first time —the Atlanta office as well. Overall, the work was fantastic. All indications point to the fact that our product is certainly being elevated across the board. 12 projects garnered votes. So, in addition to 5 projects being honored here, several pieces seemed worthy of distinction including work for Woodbridge, Shared Health, Marlowe's, Kodak CDG, and Sorrento Cheese. So, I hope that everyone who submitted can feel proud of their accomplishments.

But, ultimately there's only one Brick Winner and four runners-up. As long as you keep working towards our vision of being a top, independent ideas agency, I can guarantee that you too will end up with your name on a brick here at partners+napier WW HQ! So let's get to the winning work and excerpts from the briefs that shaped their success: 

:: BRICK WINNER ::

Kodak Entertainment Imaging Pro-Film Campaign

Big Picture:
Motion picture film is very much alive. Industry professionals still aspire to shoot their projects on film because of its unmatched "look" and because of it's overall


Give FontExplorer A Rest

Posted by: jschwartz in LogoLoungeillustrationfont on

So, you’ve got your big idea and your beautiful photographic or illustrated visual for a concept that’s going to kill at Cannes.  Why do you immediately default to a typeface that any hack with a Mac or PC can set?

Sometimes your type should be as unique and well-crafted as any ofthe other elements on your page. Sometimes a headline has so much stopping-power and is so on-strategy that you may not want to gum up the page with anymore window-dressing than what’s absolutely necessary.

So, leave FontExplorer alone and dafont.com behind. It may be time to explore the world of hand-letterers. These designers spend their days toiling in the rich world of letterforms to ensure that the type for your idea becomes the absolute perfect medium to deliver the message.

One such artist that had caught my eye this year (as well as Ann McAllister) is London-based Alison Carmichael. Alison’s work has decorated the logos, ads, posters and packaging for a host of clients including Stella Artois, The Guardian, Beck’s beer, Mini, Land Rover, Virgin Atlantic, Axe, Shell, Mont Blanc, BBC, and a slew of British package goods, retailers, and publishing houses.



So the next time you have an idea that simply can’t be limited by your own pencil, pen, brush or digital skills, do some research into hand-lettering or custom typeface resources such (such as the Hoefler & Frere-Jones). There are plenty of sources to find talent such as Ms. Carmichael that could be closer to home. Check


Inspiration Found

Posted by: jschwartz in transitsubwayphotographyoutofhome on

Since starting the Brick Blog, some of you have shared some influences and interesting projects from around the world with me. I believe it would be valuable to share these gems with the larger group. Enjoy.


Nikon’s paparazzi 
This transit ad placement makes subway goers in Seoul feel like they’re the focal point on the red carpet.
  

Fishy Out-of-home 
Innovative signage developed by a German agency for their seafood restaurant client, Fisch Franke. I think they delivered the promise.

These out-of-home examples were both shared by Cori Mozillo.
......


Moon Publicity
A media opportunity that screams go big (or should it just go home?). Thanks to Tanya Harding for sharing.
......


Photographer Ronan Merot
Striking portraiture and location work with Euro sensibilities shared by Ann McAllister.
......

 

Photographer Kevin Twomey 
I wanted to include this photographer’s work since he has an ability to create drama from the incredibly mundane. Even when a client insists on featuring the product as hero, you can handle with drama to attract your audience and deliver more than surface-level associations.


......


The last Brick Blog entry focused on the ability to execute your branded communications with a new breed of illustrator — one that is more mainlined into bleeding-edge design and cultural movements.

This week is going to take that idea a step further — when you're targeting needs to be narrow — be it the jaded youth that are too cool to be marketed to with traditionaltactics or even an upscale slice of society that is only dazzled by style above the fray — consider collaborating on the conception and execution of a program with the new school of  influence marketers and boutique media collectives that operate below the traditional agency model we're all more familiar with. 

I've recently been exposed to two companies that in some ways seem to exist on opposite ends of the marketing spectrum while both proving they're experts in attracting subcultures of society with two weapons — authenticity and craft. 

Enter the world of R. Rock Enterprises. This publisher of Design+Culture magazine SWINDLE and boutique brand consultancy concentrates on "connecting with connectors." They bill themselves as pros at "reaching elite, trendsetting markets... that can take your brand's message straight to the pioneers of culture and style." You know what, I believe them. Among their client list and case studies, they've helped Boosted Mobile and Volkswagen relate to street culture mavens, W Hotels link to emerging art scenes, and Microsoft's Zune feel loved in the elusive


Why is it that only a small percentage of our projects are ever concepted or executed to utilize the freedom and graphic power of illustration?

I’m not sure why this is so, though I have my theories that range from the simple ease of pulling stock photos into a layout for instant emotional connection to endless topics to creativessimply wanting to be on set for a shoot. Hell, I’m guilty of both. Well, whatever it is... I want to challenge us all to reconsider illustration.

There has been a renaissance in commercial illustration in recent years fueled by the pressure for marketers to be more personally relevant to more audience segmentations. Then the proliferation of media primed brands to seek influences beyond traditional commercial artists. We now have more access than ever to tap artists that are authentically involved with influencing avant-garde art and design movements, youth culture and street-inspired grafitti. The definition of Illustration has definitely broadened and the results for branded communications have been exciting. Illustration can free you from dealing with anything rooted in reality or the lofty production expenses associated with photoshoots to simply helping you turn a headline from standard set type to something more unique and artful.

To prove my point, I want to share just one boutique illustration rep company with you called BREED.

 

 
I love this company because it represents just 11 artists that all vary widely in style and


Certainly I know I'm stealing Adidas' tagline, but I feel this mantra applies to the state of our industry today. Right now, we're working in a time of greater media saturation and ever-increasingly divided audiences as the ways that people get messages change and multiply.

While one segment of the industry is focused on all the new ways to get personal and micro-target, the other is adapting the traditional vehicles that advertising was built on — broadcast, print, and out-of-home.

Check out this billboard campaign that Gretchen Bye shared with me a couple weeks ago. It's a fantastic example of reengineering an established marketing medium.

To communicate to New Zealand motorists to drive safely during their historically deadly rainy season on the roads, an ad agency developed a bleeding billboard. Rain water activates dyed water that seeps through an image of a cute child, transforming it from something expected into an impactful — even haunting — public service message. Creatively brilliant, but more importantly, it's been effective. Watch the video about it at the YouTube link below.

 

Watch YouTube video about this innovative billboard

My point: We're practitioners in advertising and marketing communications at a time when our thinking does not have to be limited by what we think may be possible today. If you can think it, it can probably be done one way or another. Does that come at a cost? Sure. Will that require clients to be open to risk?


Over the past couple of years, some designers and art directors here have asked me about my experiences working with CGI and digital retouchers. Like yourselves, I've handled most of my own high-res retouching out of necessity (and some level of competence), but when I have had the opportunity to work with truly talented Photoshop Geeks, the resulting work really benefits. My main experiencewas working with a company out of Virgnia called Lot 44, which is now Alice Blue.

Working with these imaging specialists can help you enhance the mood and style of your visual assets, as well as create elements within your visuals that are simply impossible to capture on location or in the studio (due to the reality or scale of the situation or more mundane reasons such as budget, seasonality, or timing). 

I've collected a list of other retouching houses that I respect and know do stellar work (some we've even collaborated with during the infant stages of conceptual development on a few Kodak jobs). Check out:

Saddington & Baynes

realfake

Farmhouse Post

and a new creative imaging firm I just learned of called Hac Job

To understand how these vendors could help elevate your work, check out the case studies that these companies provide on their sites. In most cases you can see the elements that comprise a shot or simply see the before & after comparisons. Sure, great creative starts with a killer idea — but page personality counts for a lot and the message can often be


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