Lürzer’s Archive Issue 225 4/2023
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USD 24.75, CAD 26 ISSN 0893-0260 LuerzersArchive.com
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Contents
1
UPFRONT
4
THE SMALL PRINT
6
ECLECTIC 1 or 0?
10 INTERVIEW Joaquin Cubria 18 PRINT WORK 125 FILM WORK 134 INTERVIEW Tara Ford 139 FOOD + DRINK SPECIAL REPORT Can we escape red and yellow? 187 BACKDROP Classics Reviews
Gut feeling Latin network GUT blew away all other top contenders at the last Cannes Lions by taking best agency, best independent agency and best independent network of the year. Then the founders sold a controlling stake to a major client … that’s quite a 12 months. We talk with Joaquin (‘Joaco’ to his friends) Cubria: he is a CCO (of Buenos Aires office) and a Partner within the overall business.
Lürzer’s Archive
© Chini Bolsón Vol 4/2023
10–11
Print [20–123] Ajinomoto Agency Cappuccino | IPG DXTRA, São Paulo Creative Direction Cassio Guiot, Cacá Passos, Vitor Elman
Lürzer’s Archive
Art Direction Cacá Passos, Caroline Cravo Copywriter Cassio Guiot, Polianna Lima Illustrator Heitor Amatsu Digital Artist Cacá Passos
Vol 4/2023
18–19
AUTOMOTIVE
KIA MOTORS EUROPE Campaign
Lürzer’s Archive
See more of the campaign at luerzersarchive.com
Agency Innocean Worldwide, Berlin Creative Direction Gabriel Mattar, Ricardo Wolff, Maso Correa Heck Art Direction Leon Celay, Will Cega, José Gomes
Copywriter Pedro Lourenco, Javier Granados, José Gomes Photographer Arw Vaz Illustrator Lana Bäumle Ferreira, Will Cega Typographer Francesca Borgonovo
LOCALIZA Campaign for a car rental company.
Agency Maloca73, Belo Horizonte, Brazil Creative Direction Dan Zecchinelli Art Direction Estevao Domingues
See more of the campaign at luerzersarchive.com
Vol 4/2023
Copywriter Dan Zecchinelli, Ildeu Filho, Vanessa Pereira Digital Artist Estevao Domingues
26–27
FOOD
AJINOMOTO Campaign
Lürzer’s Archive
See more of the campaign at luerzersarchive.com
Agency Cappuccino | IPG DXTRA, São Paulo Creative Direction Cassio Guiot, Cacá Passos, Vitor Elman Art Direction Cacá Passos, Caroline Cravo
Copywriter Cassio Guiot, Polianna Lima Illustrator Heitor Amatsu Digital Artist Cacá Passos
VALIO Campaign
See more of the campaign at luerzersarchive.com
Agency TBWA\Helsinki Creative Direction Alexander Pineda Art Direction Timo Lemmetti Copywriter Netti Genberg
Vol 4/2023
46–47
FOOD
Lürzer’s Archive
BURGER KING COLOMBIA Campaign
Agency Proximity BBDO, Bogotá Creative Direction Gina Lee, Emerson Yepes Garcia Art Direction Juan David Alonso, Leonardo Gutierrez
Copywriter Emerson Yepes Garcia, Daniela Ruiz Illustrator Laura Camelo, Lady Murcia
MCDONALD’S CANADA Campaign
Agency Cossette, Montreal Creative Direction Jason Hill, Alexandre Gadoua, Cedric Audet
See more of the campaign at luerzersarchive.com
Vol 4/2023
Art Direction Lisa Chen-Wing, Alexandre Jutras, Sébastien Robillard Copywriter Cedric Audet
48–49
SERVICES
BVS Campaign
Lürzer’s Archive
See more of the campaign at luerzersarchive.com
Agency Jandl, Bratislava Creative Direction Alexandru Strimbeanu Art Direction Lukas Fecko Copywriter Viliam Šedivý Illustrator Lukas Fecko
SOCIAL + ENVIRONMENT
VISION ADVERTISING Campaign
Agency Vision Advertising, Cairo Art Direction Ashraf Foda Illustrator Sherine Abulmagd
See more of the campaign at luerzersarchive.com
Vol 4/2023
96–97
We believe the best work needs the best judging. cresta-awards.com
Celebrating creativity 1993 – 2023
Lürzer’s Archive Special Report
FOOD+ DRINK23 23 Can we escape red and yellow?
STANLEYSPOST.COM
@STANLEYS_POST
FOOD + DRINK SPECIAL
For our second survey of trends and tastes in Food+Drink communication, we have focused on color.
The spectrum of taste
We invited a diverse group of creatives, all of whom have expertise in advertising food and drink, to reflect on the role of color in the field and to speculate on trends that might be affecting it. This is an area of specialism that combines strong traditions and restrictions with, also, vibrant and sometimes provocative short-term trends. For example, who now believes in “digital lavender” as a must-have in making food and drink attractive? Some industry pundits put their names behind that still largely invisible hue as a hot choice for 2023 … but it seems to have passed us by. However, none of our experts put their reputation there, we hasten to add. Instead, we will be feeding you a wide range of insightful and speculative observations while juxtaposing them with the hard evidence of the more outstanding food and drink ads of recent years drawn from Lürzer’s Archive. We suspect trend forecasting has a stronger, and a more scientifically-based, part to play around food and drink than in many sectors. There are clearly some very consistent values – all that red and yellow used around fast food, for example, which our experts will touch on in various ways over the coming pages. And yet there is also endless space for delightful innovation where almost any color can find its way, depending on the content and creativity around the brand and its underlying product truth.
Image: Sancho BBDO, Bogotá, L[A] 5/2019, full ad on page 174.
It is clear the rules are for bending and sometimes breaking … but understand the game before you do.
Vol 4/2023
142–143
Effie Kacopieros Creative Director Innocean, Sydney, Australia
The corner store is one of my most vivid childhood memories. Shelves of packaging towered over me, all vying for my attention with their vibrant colours and designs. The milk fridge did the same: bubblegum pink or strawberry? Or my favorite: iced coffee. Somehow, that muddy brown carton was never as convincing as the pastel pink, despite what was inside. Colors have the power to do more than just evoke emotion & feelings – they elicit actions. They can completely influence our choices in the supermarket aisle or restaurant.
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1 L[A] 1/2023, LOLA MullenLowe, Madrid 2 L[A] 3/2023, Athos Bolivia, Santa Cruz de la Sierra 3 L[A] 1/2022, Johannes Leonardo, New York 4 L[A] 2/2023, Meaning, Kobe, Japan 5 L[A] 1/2023, Creamos, Medellín, Colombia 6 L[A] 3+4/2021, The WHOLE Advertising, Shanghai
Lürzer’s Archive
The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com
FOOD + DRINK SPECIAL
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We eat with our eyes first. Always. Fresh green limes, crispy golden crusts and dewy indigo blueberries will always have more appeal than a beige chicken breast. It’s bland and unexciting. And nobody wants to eat beige food – with their eyes or their stomachs. This is something art directors and retouchers alike have known and utilized since day one. And today, we have another trick up our sleeves to sway palates with palettes: AI. Gone are the days of needing food stylists to ice-freeze veggies to lock in their crisp color. We now have a whole suite of tools to create mouth-watering images in an instant. But that doesn’t mean human creative craft is off the table. Because while machines may be able to learn and execute using color theory, they can’t be taught taste. And that’s the secret ingredient.
Vol 4/2023
156–157
CLASSICS Our revisit of fashion and automotive ads from Lürzer’s Archive 1998, 25 years ago.
Lürzer’s Archive
Top: Client Diesel Ad Agency DLKW Lowe, London Art Direction Gary Anderson Copywriter Tony Miller
Bottom: Client Kookai Ad Agency CLM BBDO, Paris Art Direction Christhophe Dru
Copywriter Fréderic Temin, Guillaume De La Croix Photographer Les Guzman
Top: Client Benelli Ad Agency Wieden + Kennedy, Amsterdam
Art Direction Bertrand Fleuret Copywriter Lorenzo de Rita Photographer Ralf Schmerberg
Bottom: Client VW Volkswagen Ad Agency DDB, London Art Direction Richard Flintham
Vol 4/2023
Copywriter Andy McLeod Photographer Richard Flintham, Andy McLeod, Neil Cummings, Marysia Lewandowska
188–189
REVIEWS
Robert Zeller New Surrealism: The Uncanny in Contemporary Painting Hardback 336 Pages £32.95
This page: Fading Room by Tim Kent, Courtesy of Tim Kent and Slag Gallery. Right page: Tears Have Changed as Tears Bring Change by Lola Gil, Courtesy of the artist.
Lürzer’s Archive
As visual arts editor for a pop culture magazine in the 90s, I commissioned a column on art in advertising, briefing writers to have fun looking at artinspired advertising. Skepticism that this column might be a one-hit-wonder was washed away by a wave of communications seeking inspiration from the history of art. Alongside this art history inspiration, there was aspiration, as brands looked to add prestige to products. There were the continuing artistcommissions by Absolut Vodka, the surrealism of the Silk Cut campaign with its clever puns and found objects, whose interpretation flattered the viewers’ semiotic intelligence, and a series of Smirnoff TV ads which riffed upon German Expressionism. It’s no surprise that the colleague I commissioned to write about Smirnoff’s free-associating vodka drinkers would go on to be a Professor in Psychoanalytic Studies. Which brings us to New Surrealism: The Uncanny in Contemporary Painting. Edited by artist and writer Robert Zeller, the book whisks us through a wide-ranging view of surrealism from Dada performance by author and poet Hugo Ball and cabaret singer Emmy Hemmings, through figures such as André Breton, Man Ray and Méret Oppenheim, before taking us to a selection of contemporary artists. Their work broadly connects with surrealist themes, such as the uncanny, the visual non-sequitur, liquid bodies and landscapes in a state of metamorphosis. The book contains many beautifully rendered examples of new surrealism, works such as Miles Johnston’s graphite drawings described by Zeller as “small visual poems”. The spooky intimacy of the work is partly derived from the restricted palette Johnston gives himself. Alongside the many interesting images in the collection there are also paintings that remind this reader that at times there is a calculus to surrealism’s mental landscape, a symbolic visual narrative of psyche that feels too polished and organized. In contrast, the last section of the book, Surrealist Influence on Contemporary Studio Practice, by highlighting workflow and work-in-progress, is compelling around psyche and creative process. The unfinished images that are in an in-between state, not fully resolved, are perhaps the most uncanny and unexpected. John O’Reilly
Vol 4/2023
190–191