Where is the beautiful Claudine?
Mostly just the head of WW columnist Michael Barney is to be admired.
Most of the time, it's just WW columnist Michael Barney's head that's on display. A copywriter at Lowe Linta's GGK in his day job, he's now showing up to model for a campaign the agency is doing for CS Youtrade. "It's not the first time I've modeled for a campaign," Barney says. Two years ago, he rummaged through garbage bags in worn-out clothes outside the Zurich department store Globus for a Caritas campaign. Now the columnist presents himself wrapped in fine cloth - but without the beautiful Claudine, whom he always courted in his columns in a polite, old-fashioned and sympathetic manner. "She really exists," Barney reassures all column readers, Frank Bodin included, "but she didn't want to be in the picture," he says - and winks twice. Once for himself and once for the beautiful Claudine.MIRROR OF SOCIETY. The article is about "The great pension reform" in the Spiegel of February 12. It hardly takes place, tells us in addition the diagram on the title page of the news magazine. And this design could trigger a new trend, or better yet: a true revolution. In a world already totally flooded with the stimulus word "visual," Spiegel once again relies only on the word. Let's see whether the image concept "In the beginning was the word" will also find words of praise at the next Berliner Type.
PLAQUE ADVERTISING BETWEEN 1920 AND 1960. Until the beginning of July 2001, the Swiss National Bank in Zurich is exhibiting Swiss factual posters from the twenties to the sixties. They come from the collection of the Zurich Museum of Design and Art (MfGZ) and show a poster style that practiced a factual view of merchandise advertising. A recurring secondary element was a hand, which had the purpose of signaling the feeling of the product and reaching for it. The MfGZ will be a guest in the shop windows of the Swiss National Bank with three exhibitions throughout the year. Flaps for Advico Young & Rubicam, Publicis and André Benker. At the TV commercial and advertising film festival "Die Klappe", Switzerland won three out of 17 flaps. The two golden flaps both went to Germany (to Jung von Matt, Hamburg, and Heye & Partner). But Advico Young & Rubicam won a silver flap with a Kuoni spot. Bronze went to Publicis, Zurich (Swisscom Mobile), and André Benker (Käseorganisation Schweiz).
NOT FROM CARDBOARD. Since the beginning of February, the Swiss packaging landscape has been home to an antediluvian creature that can take on a wide variety of guises. The changeable creature called IWIS was first sighted at Pack IT '01 in Basel. It consists of six corrugated cardboard parts and is intended to demonstrate the high flexibility of this packaging material. The idea was hatched by the Erlenbach agency Eclat in connection with a presentation it designed for the Swiss corrugated cardboard industry's interest group (IWIS).
NO MEGAPHONE FOR SWITZERLAND. In the Megaphone 2001 competition organized by the Advertising Yearbook, 1,000 works from around 300 agencies from Germany, Austria, Switzerland and South Tyrol were judged by a jury of 17 independent experts from the advertising and media industries. There were three winners in the Campaign of the Year category: Heye & Partner was honored for a TV appearance for McDonald's and for the overall work the agency has been doing for McDonald's since 1971. Springer & Jacoby received a megaphone for the Mercedes E-class ad and for the A-class TV spots. Also winning an award was a print campaign by London-based advertising agency E-fact.Limited and its sister agency Springer & Jacoby, Hamburg, for Deutsche Telekom's telephone directories. Ad of the Year was an ad for Kraft Ketchup by Ogilvy & Mather, Frankfurt. Scholz & Volkmer won the title of Website of the Year with the design of the www.cyber pirates.com website.
EditorialHands off the horror advertising!
From the middle of the year, all cigarette packs in Canada must bear shock images. There are 16 subjects to choose from: pictures of mouth cancer, black lungs or smokers' legs,
(see article on page 10).
For militant anti-smokers, the case is clear: if you want to warn people about the dangers of smoking, the best way is to show them a close-up of a smoker's leg with festering ulcers - as detailed, colorful and disgusting as possible. Then their hair will stand on end and they will never touch a cigarette again...
Think again. Shock therapy with horror images is a double-edged sword. On the one hand, it leads to a defensive blocking of perception: In all non-smoking campaigns, it has been shown time and again that moral and fear appeals are not very effective.
In addition, there is the ambivalence in dealing with addictive substances. Their consumption is always in the area of tension between taboo and taboo-breaking. Everything that is banned by our civilization is fascinating. This provokes - to quote a word from the moral expert Friedrich Nietzsche - the "courage to do the forbidden". Painting the devil on cigarette packaging usually has the opposite effect, especially among young people - who are the primary target of the anti-tobacco campaign: it is precisely the demonization that makes the difference that counts.
It is to be feared that Canada will serve as a model for similar laws around the globe. We can only hope that the FOPH, which is rightly praised worldwide for its pioneering Stop AIDS campaign, will not be seduced by the tobacco devil...
Samuel Helbling
PLAQUE ADVERTISING BETWEEN 1920 AND 1960. Until the beginning of July 2001, the Swiss National Bank in Zurich is exhibiting Swiss factual posters from the twenties to the sixties. They come from the collection of the Zurich Museum of Design and Art (MfGZ) and show a poster style that practiced a factual view of merchandise advertising. A recurring secondary element was a hand, which had the purpose of signaling the feeling of the product and reaching for it. The MfGZ will be a guest in the shop windows of the Swiss National Bank with three exhibitions throughout the year. Flaps for Advico Young & Rubicam, Publicis and André Benker. At the TV commercial and advertising film festival "Die Klappe", Switzerland won three out of 17 flaps. The two golden flaps both went to Germany (to Jung von Matt, Hamburg, and Heye & Partner). But Advico Young & Rubicam won a silver flap with a Kuoni spot. Bronze went to Publicis, Zurich (Swisscom Mobile), and André Benker (Käseorganisation Schweiz).
NOT FROM CARDBOARD. Since the beginning of February, the Swiss packaging landscape has been home to an antediluvian creature that can take on a wide variety of guises. The changeable creature called IWIS was first sighted at Pack IT '01 in Basel. It consists of six corrugated cardboard parts and is intended to demonstrate the high flexibility of this packaging material. The idea was hatched by the Erlenbach agency Eclat in connection with a presentation it designed for the Swiss corrugated cardboard industry's interest group (IWIS).
NO MEGAPHONE FOR SWITZERLAND. In the Megaphone 2001 competition organized by the Advertising Yearbook, 1,000 works from around 300 agencies from Germany, Austria, Switzerland and South Tyrol were judged by a jury of 17 independent experts from the advertising and media industries. There were three winners in the Campaign of the Year category: Heye & Partner was honored for a TV appearance for McDonald's and for the overall work the agency has been doing for McDonald's since 1971. Springer & Jacoby received a megaphone for the Mercedes E-class ad and for the A-class TV spots. Also winning an award was a print campaign by London-based advertising agency E-fact.Limited and its sister agency Springer & Jacoby, Hamburg, for Deutsche Telekom's telephone directories. Ad of the Year was an ad for Kraft Ketchup by Ogilvy & Mather, Frankfurt. Scholz & Volkmer won the title of Website of the Year with the design of the www.cyber pirates.com website.
EditorialHands off the horror advertising!
From the middle of the year, all cigarette packs in Canada must bear shock images. There are 16 subjects to choose from: pictures of mouth cancer, black lungs or smokers' legs,
(see article on page 10).
For militant anti-smokers, the case is clear: if you want to warn people about the dangers of smoking, the best way is to show them a close-up of a smoker's leg with festering ulcers - as detailed, colorful and disgusting as possible. Then their hair will stand on end and they will never touch a cigarette again...
Think again. Shock therapy with horror images is a double-edged sword. On the one hand, it leads to a defensive blocking of perception: In all non-smoking campaigns, it has been shown time and again that moral and fear appeals are not very effective.
In addition, there is the ambivalence in dealing with addictive substances. Their consumption is always in the area of tension between taboo and taboo-breaking. Everything that is banned by our civilization is fascinating. This provokes - to quote a word from the moral expert Friedrich Nietzsche - the "courage to do the forbidden". Painting the devil on cigarette packaging usually has the opposite effect, especially among young people - who are the primary target of the anti-tobacco campaign: it is precisely the demonization that makes the difference that counts.
It is to be feared that Canada will serve as a model for similar laws around the globe. We can only hope that the FOPH, which is rightly praised worldwide for its pioneering Stop AIDS campaign, will not be seduced by the tobacco devil...
Samuel Helbling
