How better to illustrate how frustrating and isolating it feels to be a foreigner who can’t communicate with locals than to use a “real” alien. The funny commercial, made by Wieden & Kennedy London and directed by David Shane, features a tourist named Alexi from who knows what planet explaining how Babbel, the language learning app, transformed his travel experience. He went from being treated like a strange alien to the gregarious, likeable individual he really is. The advert was charmingly “convincing,” except for the fact that on first meeting Alexi, the locals remained infinitely polite and patient and didn’t threaten to call the cops. Must not have been made in the U.S.
Film director Dougal Wilson and Furlined, a global production company with offices in Los Angeles, New York and London, are sweeping the 2018 ad awards shows, including medals from the Art Directors Club, One Show, Webby Award, D&AD, and British Arrow. Their winning entry is “Barbers,” a quirky commercial promoting the Portrait mode on Apple’s iPhone 7 Plus. Previously available only on DSLR cameras, the Portrait mode uses the iPhone’s rear cameras to separate the foreground subject from the background, to secure impressive studio-quality lighting effects.
The location for showing the iPhone’s Portrait is set in a funky New Orleans barbershop, enlivened by “Fantastic Man” by Nigerian synth pop artist William Obyearbor. Apple says it had to do 24 haircuts to make the advert. It donated the shorn hair to Locks for Love, a nonprofit that helps provide hairpieces to disadvantaged children in need.
Op-ed columnists write copious essays laying out carefully reasoned arguments to support their point of view; editorial cartoonists sum up their take on current events in one iconic, thought-provoking, and often humorous image. A case in point can be seen in Barry Blitt’s new book, “In One Eye and Out the Other.” A long-time cartoonist and illustrator for The New Yorker, Blitt uses analogy, exaggeration, and irony to make people think about events of the day.
Berlin-based ad agency, Jung von Matt, has produced a wildly over-the-top ode to grilling meats that could be a scene from “Game of Thrones.” Made to promote the German supermarket chain Edeka, the ad titled “Men of Fire” relates the affinity of fire to meat through the ages. British actor Christopher Fairbank narrates with Shakespearean gravitas the importance of fire as he walks us through the centuries. “In the beginning there was fire kindled by lightening from heaven,” he roars, taking us past cavemen gnawing on “slain” charred meat. Fairbank’s scorns the modern barbecue fare – the “ridiculous sparkling drinks, the fussy pretentious artisanal salads, breads, and sweet dips too.” The one eternal truth he tells us is that “meat was meant to be charred.” The ad was a wonderful spoof, although since Edeka isn’t an American brand, it was unclear what the ad was plugging. Still it was memorable and fun.
Pakistan’s ousted Prime Minister Nawaz Sharif thought he had “dotted all the i’s and crossed the t’s” when he presented Pakistan’s Supreme Court with supposed exculpatory documents that disproved corruption charges against him. The seemingly ironclad evidence was signed and dated February 2, 2006. The fake document would have been credible, except for a subtle oversight that forensic experts quickly spotted. The text was printed in Calibri, a font that was not widely available until 2007 –a full year later.
Created by Lucas de Groot, a Dutch type designer based in Berlin, Calibri had been around for a number of years, but was little known until Microsoft adopted a modified version of it to be the default font for its MS Office suite. After that, Calibri had become so ubiquitous that it probably didn’t even occur to the forgers to change the font. That likely was the case in Turkey too when the government accused about 300 people of plotting a coup, based on documents printed in Calibri and back dated to 2003.
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