In time for National Missing Children’s Month, The Missing Children's Network is launching a grassroots movement that puts the faces of missing children where they have never been before – on postage stamps. Via a new website launching today — MissingKidsStamps.ca – the network is working to raise awareness – and drive action on behalf of – the children who go missing in Canada each year; and educating Canadians on how their order of these stamps can help in bringing attention to the cause, and hopefully, reuniting families.
“The concept really is ingenious, and inline with our mission. We’ve made a commitment to the families that we work with to use every channel available to us to help them find their loved ones,” said Pina Arcamone, Director General of The Missing Children’s Network. “The postage stamp is so universal, and passes through so many hands each day – it offers a way of paying homage to these children so they will never be forgotten. We were surprised no one had thought to use them in this way before, but more than happy to be the first to innovate in this way.”
MissingKidsStamps.ca, developed by Canadian ad agency Lowe Roche, uses stamp personalization technology to harness the good will of individual Canadians in the struggle to bring these children home. Canadians can now download and use specially tailored photographs of missing children to create individual postage stamps – allowing each visitor to the site the opportunity to send photographs of these missing children to homes, and offices, across Canada, and around the world; and hopefully, into the hands of someone who might recognize them. As well as helping to raise the visibility of missing children, the site also serves to honour their memory. While on the site, visitors can learn more about some of the children being featured; download an insert that they can add to their own mailings telling others about the program; or, because so much of today’s correspondence is electronic, get an ‘e-signature’, allowing visitors to add Missing Kids Stamps to their e-mails and other e-correspondence – making sure that everyone has the chance to participate. “When all is said and done, this initiative is about bringing home as many missing children as we can, and honouring those who are still missing,” said Monica Ruffo, CEO of Lowe Roche. “We bring our skills to bear for clients everyday on a variety of business issues; but here we really saw a place where we could potentially make a very tangible difference. It’s innovation for good, and something we’re so proud to be a part of.” People can start making Missing Kids Stamps starting May 1st by visiting MissingKidsStamps.ca. As well, pre-ordered books of stamps and information about the campaign will be available at Missing Children’s Network events happening throughout Missing Children’s Month in Quebec throughout the month of May.
Credits: Project: Missing Kids Stamps Client: Missing Children’s Network http://missingkidsstamps.ca Creative Agency: Lowe Roche, Toronto Executive Creative Director: Sean Ohlenkamp Group Creative Director: Mark Mason Group Creative Director: Jane Murray Account Supervisor: Linda Carrington Designer: Joel Derksen Illustrator: Jennifer Duong Producer: Neal Owusu Music & Sound Design: Keen Music Strategic Planner: Jonathan Daly
“Emily’s Story” is the true story of a child’s life threatening illness and the joy Children’s Wish Foundation brought to her and her family’s life. Beautifully animated by Crush, "Emily's Story" is one film in a campaign for the Children’s Wish Foundation via KBS+P Toronto and sponsored by Gravol.
The creative team at KBS+P Toronto, copywriter Cristina Simonetto and art director John Roberton, developed a wonderful, gentle script before looking for an animation company to bring it to life. The team at Crush team jumped at the opportunity to contribute to such poignant story, and were excited to participate in a project that not only bought a children’s story to life, but also raised awareness for such an amazing cause.
Crush’s Julia Deakin designed Emily and all the characters, and worked with Crush’s Yoho Yue and Jullian Ablaza to bring Emily’s world to life. Jullian worked with talented illustrators, Ashley Barron and Flavia Lopez to create the world using a mix of paper and other media.
Yoho Yue and Joel Tellier rigged and animated the characters, with subtlety and sensitivity to Emily’s story. The team at Apollo Music took the pictures and added a beautiful, haunting score.
Everyone who touched the project was profoundly moved by Emily’s story and are so proud of the final piece.
Every child should enjoy a life full of laughter, shared joy, and memories with the people they love. Since 1984, The Children’s Wish Foundation of Canada has granted over 17,000 wishes to children with life-threatening illnesses. Children’s Wish is proud of its tradition of never refusing a wish to an eligible child. The maker of Gravol has been proudly supporting Children’s Wish since 2008, helping kids like Emily.
Donations to the Children’s Wish Foundation of Canada can be made on Gravol’s site: http://gravol.ca/en/highlights/the-children’s-wish-foundation-of-canada/
Credits: Agency: KBS+P, Toronto Creative Director: Dan Pawych Senior Art Director: John Roberton Copywriter: Cristina Simonetto Broadcast Producer: Clare Cashman Account Supervisor : Adam McClare Account Executive: Paige Heathcote Animation and Visual Effects: Crush Creative Director: Gary Thomas Senior Designer & Animator : Yoho Yue Senior Designer & Animator : Julia Deakin Designer & Animator : Jullian Ablaza Animator: Joel Tellier Illustrator & Assistant Animator: Ashley Barron Illustrator & Assistant Animator: Flavia Lopez Assistant Animator: Kyle Steffler Assistant Animator: Errol Colautti Senior Producer : Janice Rebelo Executive Producer: Jo-ann Cook Music & Sound Design: Apollo Creative Director: Yan Dal Santo Sound Design: Harry Knazan Music Composers: Daenen Bramberger and Mike Wise via: GlossyInc.
An emotional and uplifting new TV ad for Toronto's Hospital For Children's (Sick Kids) fall brand campaign. The commercial is wrapped around their signature line "Together We Will," and helps to capture the strength, compassion and determination that make SickKids the incredible place that it is. This spot feature real SickKids patients, families and staff singing along to Roy Orbison's "You Got It" and highlights unconditional love among families and the lengths to which they go, together with SickKids staff, to help make sick children better.
Learn more about the campaign please visit www.sickkidsfoundation.com/together. Full Press Release below.
SickKids campaign rallies community to come together to support children’s health“Together We Will” emphasizes strength in unity Picture this: A four year old leukemia patient braving the MRI table for his next scan. A newborn in an isolet hooked up to oxygen. A child being rushed to the emergency department by ambulance. A dad cradling his baby in a rocking chair in the baby’s hospital room. A teenage cancer patient in her bedroom putting on her wig. A mom and her son doing crafts in a hospital playroom in between his treatments.
These are just some of the scenes portrayed in a new marketing campaign for The Hospital for Sick Children (SickKids) set to launch November 12 for six weeks through to December 31, leading up to the busiest giving season of the year. The campaign is centred on the tagline “Together We Will” and emphasizes the strength of a community coming together to help improve children’s health. SickKids staff, patients and families featured in the ads help capture the strength, compassion and determination that makes the hospital an incredible place to the thousands of families who rely on it each year.
The creative concept is brought to life with a focus on the breadth of people it takes to help a sick child, both at home and at SickKids. Set to the emotional lyrics of Roy Orbison’s You Got It, the television spots feature children, youth and their parents together with SickKids staff in real hospital settings singing along to “…anything you want… you got it… baby.” The spot closes with the caption: We’ll do anything for them. But we can’t do it alone. Together We Will.
Twelve patient ambassadors aged 17 months to 17 years old from throughout Ontario, with conditions ranging from brittle bone disease to organ transplants and various childhood cancers, are featured in the campaign. Although many of them are in active treatment, these young patients muster all of their energy to sing along and lend their help to inspire people to support the hospital through donations.
“These scenes capture some of the most poignant moments between a child and their parents or their medical team, reflecting the family-centred care approach at SickKids,” says Ted Garrard, President and CEO, SickKids Foundation. “This campaign truly illustrates the lengths to which staff and families will go, together, to help improve and save children’s lives. Families know they can count on the multidisciplinary medical teams at the hospital when their children need them. This holiday season we need the community’s support to help SickKids continue to be there for anything our patients need, now and in the future.”
In keeping with the spirit of a community joining forces to help children who need life-saving medical care, a mural featuring leukemia patient Hunter Kemp, 5, and a sampling of 19 representatives from his SickKids circle of care will be installed at Dundas subway station. In the mural, Hunter is joined by his family and his extended SickKids family who have been there for him throughout his cancer treatment, including everyone from his nurse and oncologist to his Child Life Specialist and psychologist. Hospital President and CEO Mary Jo Haddad is also featured. The mural symbolizes the group of people who come together when a child is seriously ill and bears the caption: Together We Will. No Matter How Many of us it Takes. The mural is the focal point of a subway station domination which also includes branded wrapped pillars, stairs and turnstiles.
The ‘Together We Will’ theme is also integrated with the print campaign which features patients photographed with either a parent or someone from their SickKids medical team with aspirational claims of what can be achieved together with community support. Together We Will Make a Hospital Feel Nothing Like a Hospital and Together We Will Search for Answers are examples of how the print campaign aims to inspire people to help SickKids achieve its vision to advance children’s health in Toronto and around the world.
Elements of the campaign include mass marketing with television, print and out-of-home advertising including a branded domination at Dundas subway station and at 10 Dundas St. E., elevator wraps in 35 buildings and presence on 110 elevator screens throughout buildings in downtown Toronto. A: 60 second television spot is the focus of the campaign, with supporting 15-second spots, print ads and digital banner ads. The 60-second spot will run before every movie in six Cineplex theatres in the Greater Toronto Area.
There is also a digital component called SickKids Free Movie Day. People can help fill a virtual theatre online at www.sickkidsfoundation.com/together to send SickKids kids on an exclusive movie experience this holiday season. Cineplex will provide a complimentary movie screening for young patients who are healthy enough to attend the theatre in the new year.
The campaign website will go live on November 9 at www.sickkidsfoundation.com/together and will feature the 60-second television commercial and patient stories. People who wish to support SickKids can donate by visiting the Together We Will campaign website.
The Together We Will concept, creative and digital development was handled by JWT and media planning and buying was handled by Maxus. Partners Film produced the television spots, directed by Kathi Prosser, and photography for the print campaign was done by award winning photographer and filmmaker Mark Zibert.
Credits: Client: Sick Kids Foundation Agency: JWT, Toronto VP/Managing Director: Neil MacLellan Copywriter: Jed Churcher Art Director: Andy Brokenshire Agency Producer: Raquel Rose Account Director: Michelle Ching Production Company: Partners Film Director: Kathi Prosser Executive Producer: Aerin Barnes Line Producer: Amalie Bruun Director of Photography: Tico Poulakakis Editing Company: Panic and Bob Editor: David Baxter Music: Eggplant Producer & Music Director: Adam Damelin Producer: Nicola Treadgold
In an era where digital and electronic inventions are consuming hours of our lives, its toys and devices are also making an impact on the way children play. Remember when fun was governed by games and activities like Red Rover, I Spy, Couch Forts and Hopscotch?
Kol Kid is helping parents and their children put down their devices with the launch of a cool new web app (Play Engine) that generates endless, simple play ideas like finger puppets, Simon Says or how to make a homemade printing press, for example. Kol Kid is a Toronto-based children’s store, making a stand to celebrate the value of simple play and illuminate the insight that tech toys can’t always fulfill the tactile joy of simple toys. Kol Kid has also released three online spots to springboard this communications campaign and help reinforce the store’s purchasing philosophy, which is to sell toys that fosters children’s imagination and play habits.
PRESS: Kol Kid’s new campaign by Tribal Worldwide — Toronto helps parents rediscover the value of simple play
In an era where so many digital and electronic toys task kids with a touch of a screen or hit of a button, Kol Kid, a Toronto-based children’s store is launching a new communications campaign that celebrates the value of simple play.
“After shopping at Kol Kid a few times I noticed they didn’t carry a single electronic toy,” says Sanya Grujicic, senior copywriter, Tribal Worldwide — Toronto. “After chatting with Lisa, the owner, our team soon realized there was a philosophy to her store that was much bigger than just toys. Technology is fundamentally changing the way children play.”
Developed by Tribal Worldwide – Toronto, the campaign launches with three 30-second web videos, directed by Tom Feiler of Code Film, that cleverly communicate how tech toys can’t always fulfil the tactile joy of simple toys.
“I’ve always been particularly tuned into childhood development,” says Kol Kid owner Lisa Miyasaki. “I’ve never been interested in toys that do the playing for you. We’ve always carried toys that are tactile and open-ended. Toys that foster a child’s imagination and allow them to create their own play scenarios.”
Putting the spotlight back on simple play activities that many parents grew up with, Kol Kid and Tribal have also launched Play Engine. A web app that generates endless, simple play ideas like finding shapes in the clouds, Simon Says or how to make a homemade printing press, for example. The playful app harnesses the utility of technology to help parents discover hours of imaginative, play ideas. Ultimately, helping kids and parents put down their devices.
In addition to the videos and the Play Engine, Tribal Worldwide — Toronto also refreshed the design of Kol Kid’s website adding new content and in-store photography by Tom Feiler, that helps bring the store's philosophy to the forefront. Print advertising and in-store signage are being developed as well, to further round out the campaign and drive traffic to the store.
Credits: Creative Advertising Agency: Tribal Worldwide, Toronto, Canada Managing Director: Andrew McCartney Creative Directors: Louis-Philippe Tremblay, Denise Rossetto Copywriters: Sanya Grujicic, Tiffany Chung Art Director: Andrew Bernardi Agency Producer: Andrew Schultze Strategy: Lisa Hart, Dino Demopoulos Production Company: Code Film Director: Tom Feiler Director of Photography: Alan Lukatela Cameraman: Andrew Easson, Michael Tung Sound: Shawn Kirkby Line Producer: Magda Czyz Post-Production Company: School Editing Editor: Kyle McNair Online Editor: Paul Binney Colourist: Jason Zukowski Audio House: Pirate Toronto Audio House Director: Stephanie Pigott Audio House Engineer: Jared Kuemper Casting Agency: Andrew Hayes, Powerhouse Casting
In honor of Universal Children's Day, this beautiful ad comes to us from ad agency Grey (Germany) entitled "Lost Choir" for the International Children's Fund.
Every 3 seconds the world loses a child due to hunger, disease and contaminated water. To highlight this fact on Universal Children's Day, the Wuppertaler Kurrende Boy's Choir performed Mad World in front of an unsuspecting audience. During the performance a singer left the stage every 3 seconds until only one boy was left to deliver the message to a stunned audience. Credits: Brand: International Children's Fund Title: Lost Choir Agency: Grey Worldwide Düsseldprf, Germany CCO: Roland Vanoni CD: Mark Hendy & Neil Elliot Creative: Dominik Janning Art Director: Michael Kucharski Producer: Anne Parlesch Account Manager: Anna-Christin Saric Production Company: Parasol Island Producer: Kim Düsselberg DoP: Tim Neiser 2nd Unit: Lukas Remie Sound: Class Berger Post production: Dennis Guth Mastering: Marco Manzo, Studio Funk, Düsseldorf.
Serve Marketing has once again partnered with the Coalition for Children, Youth and Families to bring attention to the need of foster care families in Wisconsin. They worked with foster parents, foster children, college students and the surrounding communities to create the "Shelter From the Storm" campaign. A follow-up to last year's Silver Anvil nominated "Turn A Life Around" handstand campaign, umbrella flashmobs across the state will occur throughout the month of May (Foster Care Awareness month). These bright yellow umbrellas symbolize the safe haven that a foster family can provide to a child in need.
Billboards and a televised PSA direct viewers to FosterParentsRock.org, where information about becoming a foster parent is available. Through traditional and social media outreach, Serve was able to garner the attention of communities to join the events and support the cause. At these events, potential foster care parents were able to interact with other foster families to learn more about this unique parenting challenge and erase the negative stigmas that surround foster care.
"These kids’ lives are like being caught in a virtual storm every day," explains the campaign’s creator, Gary Mueller. "That’s why we chose to use iconic yellow umbrellas as the metaphor for foster parenting and what it means to these children. That when you become a foster parent, you’re literally giving kids shelter from the storm."
"Our end goal in this campaign is to change the stigma about what it means to be a foster parent," Colleen Ellingson, CEO of the Coalition for Children, Youth and Families, says. "By getting out there, being visible in the community and giving passerby the opportunity to talk to real foster families, we hope to inspire people to make a difference in a child’s life and be their support system."
Credits: Created by Serve Marketing — an all-volunteer, nonprofit advertising agency. Print Credits Art Director: Scott Krahn Creative Director: Gary Mueller Copywriter: Gary Mueller Photographer: Nick Collura Photo Retoucher: Anthony Giacomino Producer: Terri Burmester
PSA Credits Director: Rob Fischer Exec Producer: Sue Karpfinger Editor: Dave Kuhnen Audio: Peter Batchhelder, Independent Studios
BC Children's Hospital Foundation and DARE Vancouver have launched a compelling new campaign to urgently raise funds for the construction of a new children's hospital. The strategic challenge was to acquire major gift fundraising, while also getting to the bottom of 'why' a new facility is needed, and why it's needed now.
The resulting campaign created by DARE Vancouver’s Associate Creative Directors, Addie Gillespie and Mia Thomsett, landed on the stark truth that BC Children’s Hospital simply did not have enough space to perform the level of care required on an ongoing basis. A growing population, bigger operating teams, greater use of technology and cramped patient rooms are just some of the reasons why a new and larger building is required. The foundation is raising $150 million to support construction of the new hospital.
To illustrate the issue, the DARE campaign uses optical illusions to visually bring the space shortage to life for potential donors. Gillespie and Thomsett said, "It wasn’t until we toured the hospital that we really understood the problem. We needed to come up with a simple way to demonstrate the hospital’s dire lack of space.”
Stephen Forgacs, Director of Communications for BC Children's Hospital Foundation says, "We were in the middle of our capital campaign and needed a message that would resonate with potential donors at all levels, opening the door to conversations regarding the need for a new hospital. Dare seized on a simple truth about our hospital, that we’ve run out of space, and leveraged that to design some very compelling creative." Visit www.GiveSpace.ca to help.
Credits: Agency: Dare, Vancouver Executive Creative Directors: Rob Sweetman, Bryan Collins Associate Creative Directors: Addie Gillespie, Mia Thomsett Art Directors: Addie Gillespie, Mia Thomsett Copywriters: Addie Gillespie, Mia Thomsett Agency Producer: Mike Hasinoff Account Lead: Natalie Wu, Marcel Da Silva Planner: Catherine Piercy TV – ‘Hospital Ward,’ ‘Operating Room’ Director: Miles Jay Production Company: OPC FamilyStyle, Toronto Executive Producer: Harland Weiss. Donovan Boden Producer: Tony Di Marco Director of Photography: Andre Pienaar Post Production: PosterBoy Edit, Toronto Editor: Mark Paiva Telecine: Alter Ego, Toronto Colorist: Eric Whipp, Wade Odlum Online: Crush, Toronto Sound Design: Adelphoi Music, London Voice-over Casting and Record: GGRP, Vancouver Sound Mix: Koko Productions, Vancouver
How do you make healthy eating and active living fun for kids? By challenging them to try exciting activities such as turning their urine into bug repellent, holding an armpit smelling contest and inviting them to eat as many carrots as they can in hopes of achieving laser vision. The Government of Alberta’s province-wide program, titled the Healthy U 5&1 Experiment, helps families adopt wholesome habits by adding at least five servings of fruit and vegetables, and an hour of activity into each day. In an age where children are familiar with apps, gaming and earning badges, the Healthy U program makes use of this concept to present healthy eating and active living in a fun and engaging way that kids and their whole family can enjoy. “The creative plot boils down to getting kids to take part in 42 off-the-wall, wacky and weird scientific experiments that can make even the pickiest child eat broccoli,” says Eva Polis, creative director, DDB Canada’s Edmonton office. “It is much easier to convince kids to do something when you create an environment where they come to that conclusion on their own.” Developed by DDB Canada’s Edmonton office, the Healthy U 5&1 Experiment presents a 21-day challenge that invites kids and their parents to complete 42 novel experiments. Hosted on www.healthyalberta.com and free mobile app (for Apple and Android users), the provincial program features two daily experiments, one focusing on trying nutritious foods and the other encouraging physical activity. Children can earn awards and track their progress, furthering the incentive to turn these daily experiments into a lifestyle-changing habit. The program’s content targets children between the ages of six and 12, but kids are encouraged to sign up with their parents so they can begin this new healthy lifestyle as a family. The initiative kicked off earlier in May with a week-long tour of schools in Alberta that saw Healthy U host school rallies for more than 2,000 students. Associate Minister of Wellness Dave Rodney and popular YTV personality Andy Chapman co-hosted the rallies, together with the Healthy U Crew, an energetic street team. Continuing this grassroots engagement, the Healthy U Crew will extend this campaign by travelling across Alberta in a can’t-be-missed van, visiting 27 more schools in May and June, connecting with an estimated 7,500 students. The crew will also visit 40 communities in Alberta this summer, attending events including the Calgary Stampede, Edmonton’s K-Days, the St. Albert International Children’s Festival, and the Medicine Hat Spectrum Festival, inviting kids to ‘experiment’ with healthy living in all sorts of crazy fun ways. The crew will also hand out sample kits featuring 10 experiments to try. Online, radio and transit advertising as well as in-store point of purchase at Sobeys round out this integrated campaign by driving families to the Healthy U website. The sponsorship secured with Sobeys creates an added motivation to this program as families who have signed up are given grocery coupons to reduce the costs associated with their weekly experiments. Furthermore, a partnership with YTV supports this initiative via a web series featuring two of the station’s animated superstars – Dr. Frantic and Kerblooey. About DDB CanadaNamed Strategy’s 2012 Agency of the Year and Digital Agency of the Year, DDB Canada is the most creatively acclaimed, internationally recognized marketing communications agency in Canada. Known for advertising that generates significant results for clients, DDB Canada is a “total communications company” whose fundamental belief is that creativity is the most powerful force in business. DDB Canada has offices in Vancouver, Edmonton, Toronto and Montreal. The agency’s integrated groups include: DDB Kid Think (youth marketing), DDB Public Relations, Tribal Canada (digital & social), Karacters Design Group, RAPP Canada (direct), DDB Hodes Recruitment Communications (recruitment marketing) and Shopper DDB (shopper marketing).
The 15th Annual STOP the Sexual Exploitation of Children and Youth Awareness Week was held last week in BC, Canada. Children of the Street, a not-for-profit organisation released the "I Shared a Photo", an online film raising awareness of sexual exploitation of teenagers. Held throughout British Columbia from March 11 through 17 to raise awareness to the importance of supporting communities in developing prevention, education, enforcement and intervention strategies to address the sexual exploitation of children and youth.
Credits: Ad Agency: Cossette, Vancouver Canada Creative director/copywriter: Michael Milardo Art director: Bart Batchelor Producer: April Haffenden and Andrea MacFarlane Studio artist: Rob Horsman Video and photographer: Clinton Hussey Editor/sound designer: Chris Nielsen Digital brand director: Kate Chalmers
To get women to make heart healthy choices and reduce their risk of heart disease and stroke, Becel and The Heart and Stroke Foundation invited moms to what they thought was a regular school play. Instead, each kid read their mom a personal, heartfelt letter explaining how well she takes care of them. Moms were then asked to take care of themselves too. Developed by DDB Canada's Toronto office, the integrated campaign encourages women to take better care of their health. Full press below.
Toronto, January 24, 2013 — Heart disease and stroke is a leading cause of death for women in Canada1, yet 80 per cent of the risks can be reduced through lifestyle changes. To encourage women to prioritize their own well-being, Becel® recently launched a heartwarming integrated advertising campaign encouraging moms to take action and take better care of their health.
Becel® is the founding sponsor of the Heart and Stroke Foundation’s The Heart Truth™ campaign, which calls on women to put their own health first by assessing their risk for heart disease and stroke, talking to their doctor, and making heart healthy lifestyle choices in order to enjoy a long and healthy life with their loved ones.
“Heart disease and stroke take one in three Canadian women before their time2, resulting in too many children losing their mothers,” says Margaret McKellar, senior marketing manager – Spreads Canada. “Becel wants to drive home the relevance of heart disease and stroke with women and provide them with the tools necessary to make positive changes in their lives.”
With moms more likely to listen to their children than a marketing message, Becel® enlisted the help of elementary school students of an Ottawa public school to surprise their moms by reading aloud heartfelt letters explaining, in their own words, how well their mothers take care of them. The emotional live event created in partnership with the Heart and Stroke Foundation, was filmed for the campaign.
“Women put too much pressure on themselves and sometimes are so focused on the health and happiness of their family that their own health is sacrificed,” says Denise Rossetto, mother of twins and creative director at DDB Canada. “If a woman doesn’t look after herself, she may not be around for her family.”
Developed by DDB Canada’s Toronto office, the national integrated campaign, includes English and French versions of the spot “Love Letters,” an online video, entitled “It’s OK Mom” that people can personalize to encourage a mom and share with their social networks, and digital advertising, which is being supported with public relations and a blogger outreach program. To learn heart healthy tips, get a behind-the-scenes look of the commercial and read the children’s love letters, consumers can visit the campaign site: Becel.ca/EncourageAMom.
The campaign is the result of collaboration between Becel’s agency partners, with DDB Canada’s Toronto office responsible for the strategy, mass, digital and social executions, working closely with DDB Canada Montreal (French adaptation), Edelman (public relations and social media), Mindshare (media), Integrated (shopper marketing) and Ariad Communications (eblast), in partnership with Sapient who is responsible for Becel.ca.
The “Love Letters” TV spot launched on January 21, 2013, followed by cinema and digital campaign elements in market the first week in February for Heart Month.
DDB Canada has partnered with Unilever Canada as Becel’s agency of record since 2009.
On Sunday, on May, 17th, US president Barack Obama has made speech at university I Notr-will give the State of Indiana, considered largest Catholic university of the country.
Obama has risen on a tribune in a professorial cloak as has honourable scientific degree. Speech of the president, basically has been devoted a problem of abortions.
In beginning Barack Obama has called supporters and opponents of abortions not to be so irreconcilable to the point of view of the opponents, to respect each other and to aspire to mutual understanding. Speech has been apprehended extremely emotionally: while supporters interrupted time and again the president with an applause, opponents were not kept from barrackings "Abortion is a murder!", "Cease to kill our children!"
On the eve of arrival of the president to criticism Notes-ladies called a management I Notr-will give to cancel the appointed event, however their appeal has been ignored.
"I do not consider, that discussions on an abortion problem should be stopped, — has declared Obama. — Everyone will be and to protect henceforth the point of view, passionately and with conviction... But let's work together reducing number of the women daring at abortion. Let's reduce number of not desired children. We will assist also support to the women bearing the child". By approximate calculations, to the Mr. of the president listened not less than 12 thousand persons.
Some students have decorated the hats-konfederatki with a symbol of the protest against abortions — a cross and traces of children's legs.
Supporters of the American president could be noticed on inscriptions on headdresses — "Viva Obama".
During speech of the president the protesting scanned outside of an audience: "One, two, three, four. Throw Obama out the door!". The police has detained, on different data, from 22 to 27 persons expressing the disagreement with a position of the American leader.
It is necessary to notice, that about half from 60 million the Catholics living in the USA, agree with the right of the American women to abortion. Approximately 42 % insist that abortions should be outlawed.
The Home Depot "Thank You” film honors employees; everyday heroes who help build things, open doors, and bring out the good in people as told through the eyes of their biggest fans: their children. The project was Directed by Jeff Bednarz for agency The Richards Group, interviewing children of employees from all over the country including those from tornado-torn Joplin and communities effected by Hurricane Sandy.
“The caliber of the parents shine through these amazing kids, conveyed both in their words and who they are — honest, considerate, joyful children,” recalls Bednarz. During the one-day shoot, a girl too shy to talk on camera leaned back and spontaneously created a dialogue using her feet. In another instance a 6 year old conveys presence of a wise senior. Throughout, the goal was to let the kids be kids and have the stories — and filmed portraits — speak for themselves.
Working with over twenty hours of footage, Lucky Post editor Logan Hefflefinger wove the beautiful stories into a powerful tribute. He and director Bednarz discussed structure and design before the shoot but, notes Bednarz, “Logan demonstrated his passion and talent by carefully considering every moment of the footage to produce the tapestry you see in the final film.”
Agency: The Richards Group Creatives: David Eastman, Todd Palisi, Seth Taylor Agency Producer: Andy Younker
Production Company: Directorz Director: Jeff Bednarz EP: John Gilliland
Postproduction: Lucky Post EP: Jessica Berry Editor: Logan Hefflefinger Sound: Scottie Richardson Graphics: Seth Olson Color/Finish: Brian Buongiorno
Pointe-à-Callière presents a major exclusive international exhibition, The Aztecs, People of the Sun. Visitors will have the unique privilege of learning about the people who founded the fabulous city of Tenochtitlan, capital of the Aztec Empire and the site where Mexico City was built after the Spanish Conquest in 1521. The exhibition, presented from May 30 to October 25, offers insights into the dazzling world of a people who reigned over much of Mexico for two centuries.
Tláloc vessel. The highlights of the Montréal exhibits include some of the most remarkable remains from the Aztec civilization [Credit: Héctor Montaño, INAH]Exceptional participation by 16 Mexican museums
The exhibition, produced by Pointe-à-Callière in collaboration with the Mexican National Council for Culture and the Arts – National Institute of Anthropology and History (INAH), showcases some 265 items from 16 Mexican museums, including the Templo Mayor Museum, an archaeological site museum like Pointe-à-Callière itself, and the Mexican National Museum of Anthropology. The tremendously varied objects are both spectacular and moving. Masks and statues, gold jewellery, figurines of women, children and animals, stamps for creating patterns on fabric and skin, sculptures and objects relating to the sacrifices required to keep the Sun on its daily journey, chests, boxes for offerings, vases and ceramics, all reflect the mysteries surrounding this people.
Stunning artifacts
The highlights of the Montréal exhibits include some of the most remarkable remains from the Aztec civilization. Two statues from the Templo Mayor Museum, each weighting 250 kg and standing 170 cm (nearly 6 feet) tall, are sure to appeal to visitors’ imaginations. The terra cotta statue of an eagle warrior, with jagged claws protruding from his knees front and back and his face emerging from an eagle’s beak, could also represent the rising Sun. This true work of art was found in the House of the Eagles, next to the Templo Mayor, used for rituals and penitential ceremonies. The terra cotta statue of Mictlantecuhtli shows the god of death leaning forward toward humans. With his skull-like face, pierced with holes for hair to be inserted, his shredded skin and clawed hands, stained with human blood, he is a terrifying sight!
Other items with splendid colours, like the vessel representing Tlaloc, the rain god, tell us more about the Aztecs’ lifestyle and deities. This vase is considered one of the masterpieces of Aztec art, and shows the god with his typical “goggles” and fangs, in his usual blue colour. The pyramid shapes on his headdress are references to the mountains where the Aztecs believed Tlaloc stored the water that would later fall as rain.
A wooden mask inlaid with turquoise, shell and mother-of-pearl is one of the rare Aztec “turquoise masks” to have survived. It may be a reference to the god Quetzalcoatl, whose face is emerging from the mouth of a serpent. This rare piece comes from the “Luigi Pigorini” National Museum of Prehistory and Ethnography, in Rome.
A ceramic piece with three faces, adorned with 13 circular gems, or chalchihuitl, evoking the 13 months of the sacred calendar, is also stunning. It decorated a brazier or a funerary urn, and shows the three phases of existence: in the centre, youth opening its eyes to the world, followed by an image of old age, and then the face of inescapable death, with its eyes closed, all referring to passing time. This sublime piece expresses the cyclical principle of duality, so important in Aztec thought, where life is reborn from death.
There are also images drawn from historic codices, photos of archaeological sites and remains, and different videos. Then there are some 150 unique hand-built and painted figurines made in Mexico to create a colourful, joyous scene depicting the vast Tlatelolco market held north of Tenochtitlan in days gone by.
Exhibition themes
The exhibition focuses on the founding of Tenochtitlan, capital of the Aztec Empire, their daily lives, the Templo Mayor, and of course the question of human sacrifices and the two Aztec calendars. It looks at many themes in their rich history: the Aztecs’ migration, guided by their god Huitzilopochtli, and the founding of Tenochtitlan; the remarkable urban planning and land use development in this “Venice of Mexico”; the Aztec art of war and the tribute paid by conquered peoples, as well as their agricultural techniques and the chinampas, the ingenious floating gardens that made the city self-sufficient. It also looks at the organization of Aztec society, with its different classes, a fascinating subject that addresses the role of women, education and the administration of justice. Aztec writing and the famous codices, manuscripts made up of glyphs or pictograms illustrating the spoken language, are examined in depth. Religion, an essential and omnipresent part of Aztec society, along with their various deities and rituals, are described. And lastly, the exhibition closes with a description of the Spanish conquest and the fall of the Aztec Empire, and the legacy of the Aztecs today.
Who were the Aztecs?
The story of the Aztecs began around the year 1000, when a warrior tribe, probably driven by famine, set out on a long southward migration. Despite many difficulties on their odyssey, they persevered, trusting in the god watching over them to reveal the place where they could finally found their city. And so it was that in 1325 the Aztecs, or Mexicas, founded the city of Tenochtitlan, building a temple on an island in marshy Lake Texcoco, in the central Mexican highlands. The capital was divided into four districts, watched over by the gods associated with the four cardinal directions. In a sacred precinct in the centre of the city stood the main temples, including the Templo Mayor or “Great Temple,” which would become the heart of their city and the centre of their spiritual and material universe. The Aztec Empire lasted almost 200 years, until 1521. They built lavish palaces, temples and markets there, creating an immense metropolis with a population of about 200,000 at its height. Theirs was an imperialistic society that relied on diplomacy and near-constant warfare to expand their empire and collect tribute in the form of regular “taxes” from the peoples they conquered.
A highly innovative civilization
Tenochtitlan was founded on a shallow, marshy lake. The Aztecs were able to increase the habitable area of their city by planting pilings and installing platforms to hold sediment from the lake. Thanks to this ingenious system, the city was crisscrossed by canals, and chinampas, or true floating gardens, were created where they could grow various crops. These remarkably fertile gardens produced up to seven harvests a year, feeding much of the city. The system was also used to recycle the city’s organic waste. The Aztecs developed trade in cocoa, maize and other crops, which were sold in markets of all sizes, and produced striking ceramics and magnificent gold and silver finery.
A life governed by gods and calendars
Like many other Mesoamerican peoples, the Aztecs divided their universe into three main levels: the sky, the Earth – an island with the Templo Mayor at its centre – and the underworld, inhabited by the god of the dead and his companion. The god and goddess of duality were the source of four creative principles occupying the “four roads of the universe” corresponding to the four cardinal directions. For the Aztecs it was important to constantly maintain the balance among the divine forces – a delicate exercise governed from day to day by following two calendars that dictated not only the maize planting and harvesting cycle but also the rituals required to appease some 200 different gods.
The Aztecs considered time to be cyclical, and human lives to be influenced in turn by their gods, at regular intervals, as spelled out in the two interlocking calendars. The solar or annual calendar lasted 365 days and consisted of 18 months of 20 days, adding up to 360 days. The remaining five days were seen as highly inauspicious – it was best to avoid all activity on those days! In every month a major god was honoured. Since this calendar governed agricultural activity, it included many feasts dedicated to the rain god Tlaloc and to plant deities.
The sacred calendar also dictated religious ceremonies and important dates. Each day was defined by a glyph or written sign (there were 20) and a number from 1 to 13. These signs and numbers combined in an unchanging order, and the same combination of signs and numbers repeated until the 13 x 20 possibilities were done, that is for 260 days. Every 52 years, the solar and sacred calendars aligned once again. For the Aztecs, this was a time of fear and anguish, since they didn’t know whether it signalled the end of the world.
The importance of the Sun and human sacrifice
The Aztecs worshipped the Sun, and feared that it would disappear if they didn’t perform various rituals. Just like many other pre-Columbian civilizations, they also engaged in human sacrifice. These sacrifices were considered offerings and an essential part of the various rituals associated with their religion and daily life. Victims were put to death to nourish the Sun and the Earth. When the rains failed to appear and crops were at risk, for instance, the Aztecs would sacrifice children to regain the favour of the rain god. Different kinds of victims were sacrificed: warriors captured in battle, slaves, people condemned to death for offences, and children.
Highly significant codices
The Aztecs had a special form of writing. They transcribed their language, Nahuatl, using a combination of glyphs, figures and graphic elements. These manuscripts, known as codices, are an inexhaustible source of details about their economy, and include tax rolls, property registers, politics, history, education, religion, sacred rituals and science. They are key to our understanding of Aztec civilization.
The Aztec heritage
When he first saw Tenochtitlan and its many canals, Hernán Cortés of Spain compared it with Venice. But despite his admiration for the city, he had no scruples about laying it to waste in 1521. Cortés left Cuba with about 500 men, on a mission to secure the interior of Mexico. After being greeted with splendid gifts by Moctezuma II, Cortés soon took the Aztec Emperor prisoner. The destruction of Tenochtitlan marked the end of the Aztec Empire and launched the colonization of all of Latin America.
Today the Aztec civilization is considered one of the most remarkable in human history. Many archaeological digs and different museums celebrate their exceptional contribution to world heritage. Mexico City, the country’s capital and largest metropolis, was built atop the ruins of the superb city of Tenochtitlan. Today it is home to some 22 million people. The Aztec language, Nahuatl, is still spoken by about 1.6 million Nahuas. Today’s Mexicans also carry the memory of the Aztecs in their name. When their god Huitzilopochtli guided the Aztecs to the site where they would found Tenochtitlan, he called his people Mexicas. Even today, a divine eagle perched on a cactus devouring a serpent – the sign that the god had sent to the high priest of the Aztecs to tell them where to found their city – adorns the Mexican flag and banknotes. And one can still travel by boat along the canals built by the Aztecs, in Xochimilco and other districts of Mexico City.
In India, children start to tame a dragon literally from infancy. The most interesting that adults, do not speak to children about danger of death, and on the contrary, assure that are toys...
New public awareness campaign for A Child Is Missing entitled "Playtime Is Over." The ad is a bold and realistically terrifying look at what happens to many of our missing children around the world. The ad was created by the Ripple Branding Company for A Child Is Missing Alert.
Personally I found this commercial to be too hardcore at first, but after watching it a few times and allowing myself time to think about the work this charity does, and more importantly the reality of what happens to so many missing kids I was able to digest it. But it made me wonder if the ad would be effective in getting people to donate to the cause or make them close their eyes are run.
We reached out to Ripple Branding Executive Creative Director Douglas Tracy, and asked him if they were getting the same reaction to the ad: "Yes, actually we wanted to give people the chills in the most horrific way we could imagine and the actor really nailed his character and lines. So far everyone has had the same reaction, and I just hope that it translates into people taking action and donating to such a worthy cause."
Please share you're thoughts to the commercial and more importantly donate if you can, link below.
Campaign credits and special thanks go to: Sherry Friedlander -Founder of A Child is Missing Alert Douglas Tracy- ECD/copywriter Ripple Branding Company Jonny Lumbley- Director Max Gutierrez — Director of photography Alexandra Thoridt- Art director Floh Weckert- Senior Art director Jean Yarjour- Animator The Lodge Music- Music Dave DeAndrea-VO
Toronto-based animation and design studio Crush has launched another wonderfully paper craft-inspired spot, this time for Seattle's Woodland Park Zoo via creative agency Wong, Doody, Crandall, Wiener, Seattle. Working with the creatives at Wong, Doody, Crandall, Wiener, this spot for the Woodland Park Zoo builds on the work Crush did last year for "Emily's Story", for the Children's Wish Foundation, For this spot, Crush used a lot of classic illustration as reference for their designs and colour palette, but then developed them into something very contemporary. Crush designer Jullian Ablaza developed the look of the animals and with the help of artist and children’s book illustrator Ashley Barron brought each animal to life. Once the animals were created, Jullian designed the environments to be simple but to compliment the animals as the film flowed from scene to scene. Crush Senior Designer and Animator Yoho Hang Yue put together the animatic and ultimately the animation. To keep the project streamlined and cost efficient, Yoho created the entire project in After Effects, adding textures to the final piece. "We wanted a very tactile feel, which we would have done in camera if the budget and timeline allowed," said Gary Thomas, Creative Director, Crush. "The end result was very close to that and allowed for a lot of flexibility. The creative team at Wong, Doody, Crandall, Wiener were a dream to work with. They were totally on the same page and brought great insight to the work. We are incredibly pleased with the final result." Check out Crush's "Emily's Story" http://glossyinc.com/?p=11420
Credits Title: "Alive — Lion Clubs" Client: Woodland Park Zoo, Seattle Director, Marketing & Corporate Relations: Jim Bennett
Agency: Wong, Doody, Crandall, Wiener, Seattle Creative Director: Monkey Watson Copywriter: Peter Trueblood Art Directors: Caitlin Finn, Daoust Huertas Sr. Graphic Designer: Ramon Vasquez Producer/EP: Steph Huske Account Supervisor: Heidi Brown
Design and Animation: Crush, Toronto Creative Director: Gary Thomas Senior Designer & Animator: Yoho Yue Designer & Illustrator: Jullian Ablaza Illustrator: Ashley Barron Senior Producer: Janice Rebelo Executive Producer: Jo-ann Cook
Beautiful new campaign for Orelhão Mágico keeps the spirit of Santa Claus alive for a some lucky children in Brazil who came across this Magic Payphone.
Oi, a telecom provider from Brazil, is hoping to make everyone believe in the magic of Christmas one more time. That’s why it created the Magical Payphone, a device that connected kids with Santa Claus. Installed in Rio de Janeiro, the special payphone was available to kids walking by with their parents. Once they made the call, the kids would chat with Santa, who were actually two retired actors from Retiro dos Artistas (an institution that takes care of former artists). But it was much more than a telephone call. Big surprises were prepared for the kids: lost elf's, gifts and even a mapped projection with snow and a choir of kids. Everything to make a great experience for the children and everyone watching.
Credits: Advertising Agency: NBS, Brazil Creative Directors: André Lima, Pedro Feyer, Marcello Noronha, Moacyr Netto Art Directors: Vinicius Cunha, Marcos Hosken Copywriters: Moacyr Netto, André Jardim, Bruno Pinaud, Ricardo Weistman Producers: Andrea Metzker, Leonardo Lino, Álvaro Figueira Production Company: Dínamo Filmes Director: Dan Gifford via:
In a new exclusive music video, Jewel and Pampers pay homage to the beautiful morning moments shared between parents and their babies. From storytime and sing-alongs to feeding horses and spending time with daddy, the video captures Jewel's favorite beautiful morning moments with her son, Kase. With background music from Jewel's most recent children's album, "The Merry Goes Round", this performance of the popular children's song "The Green Grass Grows All Around" is sure to enhance beautiful mornings with baby all the time.
The landscape has remained unchanged since the Roman empire. Soft hills where barley and wheat are cultivated like 2.000 years ago surround Djemila, a city on an Algerian plateau built in 96 AD by the Roman army.
Archaeological site in Djemila, Algeria [Credit: ANSA]The settlement, which was inhabited until the 6th century, is one of many archaeological sites in Algeria, which has an unparalleled heritage in Africa. And the continent's largest country now means to exploit it in order to re-launch an international tourism business reduced to almost nothing in the past two decades.
Moreover, all Roman cities are in northern and central Algeria, the safest areas in the country with no major security issues. Djemila hosts a number of important buildings: an amphitheatre from the 2nd century, where performances and music festivals are still held, temples, prisons, altars, an arch dedicated to Caracalla and a magnificent baptistery from the 4th century which is still intact.
On Friday, the Muslim weekly holy day, the site is flooded with local tourists: women wearing the Islamic veil or Maghreb-style face veil, bearded men wearing long kaftans, lots of children observe with admiration and respect the remains of a faraway, ancient civilization and are friendly in welcoming the rare foreign visitors.
Inside the museum where extraordinary mosaics can be found depicting hunting scenes or joyous everyday scenes portraying men and gods, some glance elsewhere but most observe the figures with great attention.
What makes Algeria's archaeological sites extraordinary — from Djemila to Tipaza, Timgad and Tiddis — is the beauty, almost primordial, of the surrounding landscape which is rare in other parts of the Mediterranean.
'From a touristic standpoint, we are still children and need to become adult', Said Boukhelifa, a high official with the Algerian tourism ministry, told ANSAmed. "One thing is certain, we don't want to make mistakes which have been committed elsewhere. We are aiming for a tourism which respects nature, landscapes and our historic culture. This is the challenge we have to start from, after all the years that have been lost."
