Is this ad target savvy?

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Why Orange?

Many people (ok, some people) (ok, some ART DIRECTOR people) [...]

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The New Magazine?

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Big Orange Slide

Friday, September 3rd, 2010

Why Orange?

August 31, 2010 by Big Orange Slide

Illustration by Colin Craig

Many people (ok, some people) (ok, some ART DIRECTOR people) have speculated about where Grip’s visual identity comes from. To answer this question, we polled current staff on “why orange?”

Those with creative responses were quickly promoted, and showered with diamonds and glory. Those who laughed it off are, sadly, no longer with us.

Here is a smattering of what we got.

Staff Conjecture:

“Orange is vibrant, energetic and warm, like us!”

“It’s the cheapest fruit available to serve to staff?”

“Hindu swamis traditionally wear orange robes because orange symbolizes fire. Obviously.”

“The only thing that rhymes with ‘orange’ is ‘sporange.’”

“I heard it was because we’re always creating, or polishing, or re-evaluting. At any given point it is safe to say that something is ‘Under Construction.’ Hence the orange.”

“I heard it could be our unwavering support of the Dutch soccer team.” “Unwavering?” “Well, my unwavering support?”

“Orange you glad you’re not a banana?” (Ed. Note: no longer with us)

“Orange is tied to energetic days, warmth and ambition. There is nothing even remotely calm associated with this colour.”

“Orange is the color associated with the Sacral Hara Chakra (sexuality and reproduction). Need I say more?”

“Because Big Green Slide didn’t have the same ring to it?”

“It’s bilingual.”

“Easy. Oranges fight off scurvy.”

“I’m colour blind.”

Partner Clarification:

“When we set out to find/create a name for our company, our over-riding objective was a name that evoked a traditional work ethic. This was going to be an agency where everyone rolled up their sleeves and got into doing the work. Workman-like, journeymen, doers-not-talkers.

“’Grip’ became the interpretation of that philosophy. The sound of the word. The connection to our business on the production side. All point to a sense of getting your hands dirty.

“For me, Orange was the perfect backdrop to that language. The colour and the style are reminiscent of the old Gulf Oil wordmark. It feels and looks industrial or industrious. It was differentiating. Name a colour associated with another agency. Can you? The colour is bold and prominent. It has a point of view. It’s clearly Orange and proud. It’s bright. It’s warm. It’s inviting.

“And now, I can’t imagine us being any other colour.”

- Bob Shanks, Managing Partner, Business

“Back when we were first forming Grip, I was driving down Richmond Street and happened to notice a beautiful old building — The Graphic Arts Building — at Sheppard Street. I noticed construction workers going in and out. I decided to do the same.

“Most of the original design was intact. I found out, via a logo imprinted on the banister, that it had once been the offices for Saturday Night Magazine, as well as a humour magazine called Grip Ltd.

“Grip had started to make more money from designing ads for the magazine than from producing the magazine itself. It slowly rolled into a graphic design firm, and, as it turns out, counted Thom Thomson and many of the Group of Seven amongst its staff.

“To me, that name embodied everything we envisioned for our agency: a group of people who were rolling up their sleeves to do what they loved, and to do it better. I was so struck by it that I bought the available URL with my credit card for $25. That night, I went to Bob Shanks’ house and said ‘I think I found our name…’

“Scott Dube took on the unenviable lead of designing our logo. If the name was any indication, the debate over our logo had the potential to go on forever. However, we all gravitated to the bold orange and black look right away. It FELT the way Grip Limited SOUNDED: the workman-like attitude, the images of road pylons and ‘men at work’ construction signs. It doesn’t scream ‘panic’ like red does, or instill a sense of anxiety like yellow.

“When Grip launched, the whole industry (from press to peers) said we wouldn’t last. But we decided not to acknowledge the negativity. We’d let the work speak for itself. That logo, and its colour…a big, orange rondelle, did a lot of the talking for us. It was like our shield. It was perfect.

Still is, in my opinion.”

-  David Crichton, Creative Partner

“Apparently being the designer of the Grip logo means I have to weigh in on my choice of Pantone 021C – which has since evolved into a custom mixed shade of Orange. (Our very own shade of orange!)

“Well, it just made sense. In the end it represented different things to different people. But  in colour theory we’re taught that orange promotes curiosity and exploration, and a willingness to embrace new ideas. It also stimulates enthusiasm, creative play, and vitality with endurance. I’ve heard it also said that people who like orange are usually thoughtful and sincere. These characteristics seem to suggest the very best kind of work culture.

In starting a new company, it didn’t hurt to recognize that Lady Luck’s color is orange. Guess that worked too!”

- Scott Dube, Creative Partner

Who will win the SmartPhone wars: BB, iPhone or Android and why?

August 17, 2010 by Big Orange Slide

Please add your comment below.

Signs of the times

August 11, 2010 by Ian Mackenzie

Photo by Ian Mackenzie

The face of ads in downtown Buffalo as of last Friday. Better than a vinyl? Not sure. But 20 years in they still look cool.

Why no one cares about the mandatory long-form census

July 27, 2010 by Jason Partridge

Illustration by Mark Herd

There has been a lot of discussion in the media surrounding the federal government’s decision to drop the mandatory long-form census in favour of a voluntary household survey. We’ve seen front page stories in The Toronto Star where the head of StatsCan has resigned, refusing to support this decision.

We’ve seen the Globe and Mail report how the voluntary system would introduce bias and reduce the reliability of data collected, therefore hurting everything from libraries to public transit, from health planning to teacher hiring.

We’ve seen articles stating that nearly all the provinces and territories have now voiced their opposition to this decision.

Yet despite outcry from experts, dissention within our municipal, provincial and federal governments, as well as protest from some of the most respected and influential leaders in the private sector, why is the general populace not paying attention?

Because, just like a bad advertisement, people who are against this decision are trying to deliver too many messages.

Meanwhile, the federal government has used what we marketers know is the key to any powerful and effective communication: repetition. With the precision of a Slapchop Ad, they’ve driven home the message that the long-form census invades the privacy of Canadians.

They have remained on message and cemented the privacy “benefit” in the mind of their “consumer.”

And while the press has shown this claim is greatly overblown, critics have yet to develop a clear and easy-to-understand retort that will make the public (i.e., the everyday Canadian) care about this topic.

But what could possibly unite people across Canada and get them to care about a bunch of statistical data that will eventually impact economics, education and healthcare in Canada?

I’m thinking hockey.

Let’s face it, we live in a country where the possibility that a kid might not be able to play hockey is more important than whether there will be a doctor to help if she suffers a broken neck from getting hit from behind.

If the data gathered from the mandatory long-form census is used to help decide where money goes for libraries, schools, hospitals and other public institutions, how many hockey teams will fold or never get a start because the funding for coaches, resources, and arenas has completely disappeared?

Or even better, maybe leaders in the private sector need to step up and show how without
accurate data, a city will never be able to convince the NHL to bring us a 7th professional hockey team. I’m looking at you, Jim Balsillie.

Look, I’m not saying this is the best solution, or even a hundred percent accurate. I’m just saying that if the critics started saying, “scrapping the mandatory long-form census will hurt hockey in Canada,” people would pay a lot more attention because it speaks to the hearts of Canadians. It’s a common issue that everyone can understand. In short, it’s accessible.

And unless someone comes up with a simple reason why Canadians should care about the mandatory long-form census, Canadians will simply ignore it. Because it’s just plain easier to believe that it’s an invasion of your privacy.

Now if you’ll excuse me, I have to go post some lewd photos on Facebook, updated my exact location on Foursquare, email my bank information to a Nigerian Prince, and post an embarrassing video of my children on YouTube.

How not to hold your phone

July 12, 2010 by Sara Vinten

Illustration by Nancy Ng

Have you been reading up on the new iPhone? If you have, you’ve probably heard that if it’s held a certain way, the reception is terrible – and you can thank the poorly placed antenna for that!

The solution? According to Steve Jobs, “just don’t hold it that way.”

Wait. There’s a wrong way to hold a phone?!

Sure enough the competition picked up on this. With a post called “How do you hold your Motorola Nokia?” the folks behind the official Motorola Nokia blog certainly didn’t waste any time. The post, which doubles as a how-to guide, spotlights some of the ways Motorola Nokia users hold their phones, including, “The cup”, “The balance” and “The four-edge grip.”

The post concludes by saying that, “people generally tend to hold their phone like a . . . well, like a phone.”

And they the jabs at iPhone don’t stop there. Another mobile company, Motorola, has released this ad for their latest smartphone, which reads: “Introducing the DROID X . . . it comes with a double antenna design. The kind that allows you to hold the phone any way you like . . .”

Ouch.

So what’s your take on the parody this mess? Was this a low blow from Motorola? Low blows from Nokia and Motorola? Or was it clever of them to grab hold of the issue? (Pun intended. Sue me.)


UPDATE: Oops! In light of some feedback we got in the comments, we’ve realized there were a couple of errors with our original post. Changes are indicated with strikethroughs and in blue above.

The life and death of movie posters

July 8, 2010 by Jacoub Bondre

Photo by Jacoub Bondre

What happened to movie posters? They used to be beautiful works of art. It seems like these days, movie posters, for the most part, have been distilled into Trajan Pro and a bunch of floating heads.

But just when I thought all hope was lost, I saw this poster on Toronto public transit. Now granted syphilis isn’t something I’d want to check out, but it’s nice to see that the art of the movie poster is not completely dead. Who knows where good old fashioned movie poster design will show up next.

Incidentally, James White at SignalNoise.com talks about and uses old movie posters as inspiration for his art all the time. (If don’t follow White’s work, you should. You can follow him on Twitter, here: @Signalnoise.)

Running for cover art

June 30, 2010 by Leilah Ambrose

Illustration by Haley Fiege

Studying my chipped manicure, I suddenly felt right badass.

And when I think badass, I think Iron Maiden.

And when I think Iron Maiden, I think about the future of building musical brands in the digital age.

You have been warned.

If you’ve seen an Iron Maiden album, you’re likely casually acquainted with the artwork of Derek Riggs, the self-taught artist who defined the visual language for Maiden’s discography and tours. Riggs’ post-apocalyptic landscapes and ghoulish, plague-like Eddie character are identifiable a mile away, even without the classic Iron Maiden industrial gothic typeface, or Riggs’ secretly placed personal logo. If you’ve seen one Maiden album, you’ll be able to eagle eye them forever, a fact that keeps Maiden’s brand Iron-Clad (throw horns here).

From fonts to freaks, Iron Maiden is only one example of how a band presents its face to the world. But what of definitive one-offs? The tongue-in-cheek call-and-response of Elvis’ First Album cover art and The Clash’s cover for London Calling, for example? The Clash may have maintained the type treatment, but they made their punk sensibilities sing by replacing Elvis with Paul Simonon smashing up his guitar during a Palladium concert. It was subversive, clever, and has since been considered one of the great album covers of all time.

But wait. These are all references from what came before. According to some, we’re in THE FUTURE. And, by most accounts, the technological Gravitron has thrown a lot of bands to the wall with the possibilities and hiccups of what their audiences are actually doing.

The upshot: being iconic is no longer simply a question of artistry.

It has also become a question of strategy.

So, in an age where going to a music store has been replaced by flipping through Cover Flow, how does a band define itself? We consume music through so many more channels now – seeking it out on band pages, giving it a test drive through Amazon, linking to it through Twitter, emails, and one-off recommendations. Whereas artwork was once inherent to discovering a band, it’s the process of discovery itself that has become instrumental (ahem) in defining the public face of a band.

Image-making in music isn’t new. Only a few years after Bowie introduced his Ziggy Stardust character, the world was brought screaming into the video age, where shock and flash became as much a trademark as a guitar riff. MTV encouraged the Madonna-whore complex, and for there it was a hop, skip and a jump to Lady Ga-Ga’s pants-optional Fifth Element vibe.

Lady Ga-Ga is one example of how album art has become a living, breathing entity. Making provocation her trademark, she has basically turned mass media into her cover art. Within 12 hours of releasing the “Telephone” video, the web was on fire with page views and blog conjecture. Lady Ga-Ga doesn’t need traditional media. She thrives beyond it. She proves that though MTV may have gone to the Jersey Shore, reality can’t kill the YouTube star.

Other avenues? The oft-contested “sell out” route of product promotion, a precarious tightrope between representing your band’s ideals, and the ideals of the brand your work helps sell. U2’s Bono established (RED) not necessarily as an extension of the band, but as a philanthropic enterprise. But, a (RED) U2 Special Edition iPod produced in conjunction with Apple meant that U2 wasn’t just producing the material, they were exercising ownership on the material their material would be played on. The donation of profits made from the (RED) partnerships to the AIDS cause perpetuated what “Sunday, Bloody Sunday” had obliquely said in the 80s: that U2 uses populism as a tool for social change. Their behaviour and alignments are their defining trait.

These are stadium sell out bands though. What of the littler guy? The indie band without paparazzi, or Steve Jobs embracing them onstage? Again, refer to the tools of the trade, and the dynamic reality of the web. OK Go were super niche only a couple of years ago. But they embraced their fun-loving geek pop, and jumped on a few treadmills for a relatively low budget crack at a music video. The upshot? Any search for “Here It Goes Again” produces millions of hits. The band has become inherently defined by the fun they have making videos. It’s impossible to determine how they could have communicated that side of themselves if restricted to set lists and iconography. And, if imitation is the highest form of flattery, thousands of fans flying off treadmills is a solid thumbs up for OK Go.

Do I argue against the power of the music itself? No. Music is the thing that fundamentally makes people feel something, think something, get carried away, or pierce their ears with safety pins. But to become established as an iconic rock or pop band in the digital age, you can’t just play the songs anymore. You have to live them.

The power of a brand

June 25, 2010 by Jacoub Bondre

Illustration by Nancy Ng

I was raised in the Ottawa area. We moved around a little bit, but the majority of my youth was spent in Smiths Falls and Perth, Ontario, two very small towns about 40 minutes south of Ottawa. I was born in the ’70s and became of age to choose a favourite hockey team in 1983.

I was 4 years old. It was a crisp fall morning and a bunch of us were playing on the concrete playground at St. Francis De Sales school, when a debate broke out. Which team was better, the Montreal Canadiens, or the Toronto Maple Leafs. Remember, this was years before the Ottawa Senators (*spit* hutzpah) became a team. The yard quickly divided into the two, equal in number, factions. I, being the son of immigrants, did not have a favourite hockey team. The closest thing to a sport my father was into was watching Monica Seles grunt suggestively during her tennis matches. I was a clean slate. I had never seen a hockey game, and knew nothing of the teams, or the star players of that time.

The two groups noticed me in the middle, and they approached. I was the tie breaker. My vote would decide once and for all which team reigned supreme on the St. Francis playground. Jeff Carroll, a boy tall for his age, questioned: “who’s better?” Jeff was wearing a Maple Leafs hat with their logo prominently displayed in the front.

“Ya, you need to decide! Who do you like better?” added Nick Feeley. Nick was an average-sized boy donning a Montreal Canadiens hat.

I felt immense pressure as the two groups of boys hung on my next words. I knew nothing of these teams, I didn’t even know which logo belonged to what team. But I do know which one I liked better. I pointed at Nick’s hat. “Which team is that?” I asked. “The Habs” one voice replied.

“Ya, the Canadiens,” another said. “I like them better,” I said.

One group erupted with jubilation, the other with disgust. But that doesn’t matter. What matters is from that moment on I was a Habs fan. That year I watched as Patrick Roy led the Habs to a cup. I’ve watched them religiously since. I have bought tickets to their games. I have bought their merchandise. Now my children are Habs fans, and they watch the games with me. With the same fervour and excitement they stare at the screen, wearing their Habs sweaters.

Two generations, sure to turn to three and four, consume the product that is the Montreal Canadiens. All due to effective branding . . . and a Hall of Fame goaltender.

Can you buy beauty?

June 22, 2010 by Brian Ross

Illustration by Brian Ross

How do you measure up to the models in the magazines?

If the question is increasingly on the mind of the public consciousness – and it seems to be – it’s also making its way onto the stages of public policy. And it may well have implications for the design industry.

Government and advertising standards groups are increasingly bringing up media’s role in shaping youth body image. They argue that children aren’t aware that most mainstream images of beauty have been “enhanced.” This creates unrealistic and unachievable ideals that they say lead kids to think if they starve themselves they can reach levels of thinness that equate to beauty.

French MPs are already fighting to have a law passed that requires warning labels to be added to retouched photos, much like the labels on Canadian cigarette packaging.

As if to fuel the zeitgeist, there’s been a recent uptick in leaked “unretouched” photos popping up on the Internet, one of the most famous being of Madonna. Celebrities from Britney Spears to Kim Kardashian are purposely leaking untouched photos of themselves. Why? Who knows. But perhaps they’re doing their bit to combat the harsh body image stereotypes they themselves have been so complicit in manufacturing.

Is it a brand’s responsibility to warn their consumers against the spectra of false body imagery? Or should it be a matter of regulation? Both?

Unnatural brand disasters

June 17, 2010 by Miranda Voth

Illustration by Brian Ross

The 2001 British Petroleum brand redesign was a big step in the right eco-direction. Realizing that petroleum had become increasingly associated with evil things, the company condensed its company name to BP, and adopted the tagline “Beyond Petroleum.”

Naturally, the logo underwent a transformation too. The green and yellow “Helios” is intended to represent the “progressive, responsible, innovative and performance driven” aspects of the company, and its deep concern for finding energy that is “affordable, secure and doesn’t damage the environment.”

At the same time, BP was doing something many oil and energy companies were not: advertising. To tout its progressive and eco-friendly initiatives, humourous ads aired during FIFA and other campaigns to spread the word about their green programs. All around they had a good thing going, considering the nature of the company. Until now.

Since April 20, 2010, oil has consistently poured from a “sea floor oil gusher” into the Gulf of Mexico following the explosion of the BP Deepwater Horizon rig. BP, who had worked so hard for their relatively clean image, is now a burdened brand with the colourful title of “largest offshore oil spill in US history.”

For weeks, BP wasn’t transparent about the damage this error would cause to the environment. And after weeks of downplaying and denying, BP finally acknowledged what it had done.

After 45 days of oil spewing into the Gulf, BP CEO, Tony Hayward went on Fox News in an effort to regain the world’s trust in BP. Rather than coming across as sincere, his abject apologies for BP’s role in the environmental disaster, and its subsequent ability to clean up the Gulf, seemed to lack genuine empathy. And in an age where any communications misstep ricochets for months, Hayward’s closing remarks went viral: “There’s no one who wants this thing over more than I do. You know, I’d like my life back.”

Whoops!

Let’s take a step back, BP, and consider what TO DO and NOT TO DO in a communications crisis. Three suggestions:

#1: Take responsibility for mistakes made. It’s the only way to showcase a responsible brand.
It was reported BP ordered clean-up volunteers and workers not to wear respirators on site because they created a bad visual in the media. A month later, workers on the BP spill cleanup duty are reporting flu-like symptoms. Hayward claimed the symptoms were from food poisoning. Clearly, they all ate the fish on the flight out there.

#2: Don’t downplay the situation.
BP shut down journalists from taking photos of the devastation as well as tried to stop satire Twitter accounts (@BPGlobalPR) from tweeting with BP’s name. Bad, bad, bad.

From BP to Tiger Woods, it’s been proven time and time again that the truth will out eventually. Lying will not keep your stocks and liabilities from falling apart.

#3: Show, don’t tell.
Give journalists access to see the clean-up plan in action rather than shutting them out. In a lose-lose situation, the best thing BP could have done for the brand is show the steps it’s taking to improve the situation beyond a blithe press release.

Regardless of the many huge and unforgivable mistakes BP made in the last month two months, it had the chance to turn bad press into a slightly more positive showing of their efforts, but didn’t.

The questions I’ll pose to you is:

Do you think companies should have a communication plan in place for disasters?