Credits

The Canex campaign was developed at TBWA\PHS Helsinki, Finland, by creative director Mikko Torvinen, art director Tuukka Tujula, copywriter Taro Korhonen, division manager Seppo Saari, account supervisors Johanna Paavilainen, Jaana Aberg, art buyer Kirsi Parni, typographer Miika Kumpulainen, illustration/retouching done at Fake Graphics and by Asko Taina (PHS\Premedia).

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A young boy has his mother measure his height on the door jamb through the years. Eventually, with the help of the milk’s added calcium and vitamin D, he grows taller than both his parents.

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Credits

The Anchor Super Blue Growth Spurt was developed at Colenso BBDO, Auckland, by executive creative director Nick Worthington, creative director Steve Cochran, art directors/copywriters Sarah Longworth and Mick Stalker, agency producer Jen Storey.

Filming was shot by directors Josh Frizzell via Curious Film, Auckland.

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Credits

The Orgasm Rollercoaster concept was developed at The Kaplan Thaler Group, New York, by executive creative director Linda Kaplan Thaler, creative directors Jason Graff and Whitney Pillsbury, copywriter Michael Greenburg, art director Daniel Goldstein, account supervisor Brad Kay.

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“In the Kingdom of Man there are certain survival skills we all need to learn. These things make us useful, attractive, relatable, and enjoyable to be around. Thankfully there are only 10, because without them we probably wouldn’t survive any longer than a cold beer on a hot day. Here they are.”

Every bloke should memorise at least 3 knots in his lifetime. Making fire, the 20th century involves an empty soft drink can and a chocolate bar. Work on the perfect golf swing. The one motor vehicle related test every man should master is the art of reversing a trailer. Men should learn the line-up of Australia’s current First XI Cricket team every summer. Learn how to relate to women. Work out excuses for visits to the shed. Learn how to use the barbeque. Know the hierarchy of poker hands. Check out the facts on prostate cancer.

Credits

The 10 Things a Bloke Should Know was developed at Marketforce, Perth, Western Australia, by creative director Andrew Tinning, art director Andrew Chu, and illustrator Ray Castledine.

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Credits

The Safeguard campaign was developed at Saatchi & Saatchi, Petaling Jaya, Malaysia, by executive creative directors Adrian Miller and Edmund Choe, copywriter James Yap, art director Ian Lee, designer Xuxulyn, account supervisors Tina Tong and Diana Boo, photographer Edmund Leong at Untold Images, illustrator Jesse Choo, and retoucher James Teoh.

The campaign won a Silver Outdoor Lion and a Bronze Press Lion at Cannes International Advertising Festival 2008.

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“Yay! Daylight saving kicked in last night. So shake out the cobwebs. Dig out the jandals. Dust off the barbie. Lose the love handles. Trim your toenails. Shave your hairy bits. Find the chilly bin. Enjoy a picnic. Or do whatever. ‘Cos we’ve got an extra hour of daylight. Let’s make the most of it”.

Jandals - rubber sandals
Barbie - barbecue
Chilly bin - insulated picnic cooler

“Unlike the majority of the entries, this one’s genuinely built for newspapers – as opposed to a magazine ad that’s been unconvincingly re-sized,” said the Caxtons judge, David Nobay of Droga5 Australia. “It plays to the core strengths of the medium and is designed to explode out of the editorial surrounding it.”

Credits

The campaign was developed at Colenso BBDO Auckland, by creative director/art director Steven Cochran, art director/copywriter Nick Worthington, and art director Emmanuel Bougneres.

The same team put out the earlier Leap Day print advertisement for Vodafone, designed for February 29, 2008. The advertisement included the phone number of a real person, Oliver Woods, who at the age of 20, was celebrating his 5th birthday. He received 60 calls, 300 voice messages, and 700 texts, as well as featuring in four live radio interviews.

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The Jimi Hendrix Signature shot was developed at TBWA\Paris by creative director Erik Vervroegen, art directors Nick Hine and Jake Rusznyak, and photographer photographer Garry Simpson.

“I didn’t want someone who looked like a grandmother,” said Simpson in an interview with Photoserve. “We were looking for a model with a sense of individualism who hadn’t lost her sense of adventure. It is a really great simple idea, so the casting was really important.” The woman was shot in a house in North London. Minimal retouching was done in post-production. Ironically the only part of the image which was enhanced in Photoshop was the signature. The wrinkles are as they appear in real life.

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Pyke was filmed navigating Rozelle Bay in Sydney Harbour on the SS Maton - named after Australian guitar manufacturer Maton. The boat is an exact replica, except for size, of Pyke’s Maton CW80E acoustic guitar, including shape, scale, headstock and logo.

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Credits

The Guitar Boat video was filmed by director Sam Bryant via Arithmetic, with director of photography Zoe White, producer Hugo O’Connor, concept artist Andy Cassell, art director Helen O’Loan, costumer Amelia Gebler, and editor Mark Burnnett.

The guitar boat was constructed by Ross Wallace and Maximus Sets.

Lyrics for Make You Happy

Every now and then
I get a little too close
To a kind of truth that’s not worth thinking about

But you can’t stop the mind from wandering
You’ve gotta slow it down
Maybe get yourself under control

And it’s hard to stop the pondering
And there have been points when
I feel like I’ve been on a roll

But then those curtains get drawn
And the chances that you thought you had
They really come to nothing at all

And I have no need
For such things
But to make you happy
Does it make you happy?

And I’ve busted strings on this guitar
Makes me feel like I’m getting nowhere
Could you make me happy?

And if you keep me on your right
Could I keep you on my left?

And there’s a question on your lips
On your finger tips
Stabbing in the dark
Like you’re cut, cut,
Cutting your fringe back
But it’s grown out at such an angle
That the shears aren’t sharp
You’ve got to straight, straight,
Straighten the blades up

And if I could make it easier
I would always try to make it easier

But to be a cautious operator
Is the way to
Stop this falling apart

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Jesse, a wooden hand-crafted puppet, representing the curious little voice inside all of us, goes on a journey of exploration interacting and questioning everything she sees. A male voice over (Matthew Barnes) provides a commentary on the importance of questions, referring to revolutionary thinkers such as Socrates, Darwin and Einstein to depict pioneering ideas that have furthered human development. It was Einstein who said, “It’s not answers that changed the world, it’s questions”.

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Credits

The Sasol Questions campaign was developed at The Jupiter Drawing Room, Capetown by executive creative director Graham Warsop, creative director Tom Cullinan, copywriter Peter-John Eales, and art directors Julie Thorogood and Justin Joshua, and agency producer Hazel Neuhaus.

Filming was shot by Keith Rose via Velocity Films with producer Karen Kloppers and editor Ricky Boyd.

The campaign won a bronze , craft gold for art direction, and a certificate for animation and special visual effects at the Loerie Awards, a Gold at the Epica Awards, a Gold for art direction at the New York Festivals International Advertising Awards.

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The clip was filmed on Axle’s farm in rural Victoria, showing the former Australian Idol 2003 contestant singing and frolicking in the bright yellow flowering canola crop. This is the guy who resigned from his job at Network Ten after a case of indecent exposure during the 2006 Arias. In this video the level of exposure somewhat more tasteful.

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