We are Shine. Our work to date has spanned a range of disciplines, categories and geographies and has included everything from conventional ad campaigns for existing local brands to the creation of totally new brands and concepts.
The following pages showcase some of our work: how it first arrived to us, and its ultimate departure once it had received our treatment.
Emile Holmewood talked to Shine co-founder, Simon Curran, about the recent text-driven campaign they launched for Beck's beer in Auckland.
Emile Holmewood: The Beck's campaign '30 Nights' is a unique idea. Had anything like this been done before which inspired this approach?
SIMON CURRAN: While the idea of a concentrated period of activity in specific areas is not new, the 30 Nights campaign we created is unlike anything we have seen elsewhere. It's the blend of Facebook, iPhone, PocketVouchers and traditional media that we think makes the
idea fresh and distinctive for Beck's.
EH: What process did the campaign follow from conception of an idea through to implementation?
SC: We were fortunate that we have in
Lion Nathan a client who is exceptionally receptive to the suggestion of fresh and different ideas, so that was basically the brief we received. We showed them a variety of conventional approaches, but suggested that it wouldn't be anywhere near as impactful as something that is technology based - one
that engages and encourages participation
with the target market.
EH: What was the main motivation for using cellphones? Did you find texting had an advantage over other forms of media you have worked with?
SC: Our view is brands should be joining the conversation with their users rather than interrupting it as traditional advertising sets out to do. So media like mobiles, Facebook and Twitter provide brands the opportunity to now join the conversation in ways that we were not able to do previously.
EH: As the campaign progressed, did you see a steady rise in its popularity, or was this more sudden - as people discussed it?
SC: The awareness of this campaign was swift and from day one. We immediately had demand exceeding supply, which grew day by day.
When Mac's arrived, it had a very corporate aesthetic, lacking the quirkiness which is so apparent in its history. Emile talked with Len Cheeseman, and Stephen Cicala about the project.
Emile Holmewood: What is the overall concept behind the look?
Stephen Cicala: Mac's was an existing brand, having been around since 1981. We started in late 2005-early 2006 on it, so there was a bit of history already in the brand. That was the starting point. I guess probably one of the first influences that we came up with was New Zealand art, and especially New Zealand art in the early '80s when the brewery was founded.
EH: What was the inspiration behind coupling New Zealand art with beer?
SC: We felt that a craft beer should have a non-commercial look about it. It should look handmade. A lot of New Zealand art has this quality of being intimate and very much created by hand and that is something that we equated to craft brewing with Mac's.
EH: What came first, the tone of voice or the aesthetic?
SC: They kind of happened at the same time, because we all worked together in reasonably cramped quarters. Certainly Ken Double, who really developed the tone of voice more than anyone else, had something to say about how it looked. And by the same token Shine and all the other people that worked on it, had stuff to say on the tone of voice as well. It was a true collaborative effort.
EH: What was your process when determining each beer's individual look?
Len Cheeseman: Coming up with names for the beers, which was fun for the group involved, informed how they should look.
EH: Why did you use the typeface Pintor?
LC: It's based on an old hand-drawn sign, which evokes the rural typographic vernacular of many places; in turn it's been developed again by David Buck as something more expansive than the original.
EH: How does the look communicate the benefit of the product?
LC: It separates the brand as a craft beer experience; you get a sense of its heritage from within rural New Zealand.
EH: Were there any commercial constraints limiting your creativity?
SC: We couldn't change anything about the physical packaging: six, twelve and fifteen packs, the bottle label or the shape of the bottle itself. So a lot of those production constraints were inherited and we had to try and do something different within the spaces that had already been defined.
EH: What was your angle when taking the Mac's look from packaging, and expanding it across different media?
LC: Don't waste a good look; just keep developing it through different media. Lucien at Shine has done a great job on the bars for example. It's the modern way to use a creative resource who can work across platforms, it maximises a budget much better.
Len Cheeseman talks to Emile about his approach to directing the redesign of Healtheries Tea.
Emile Holmewood: What was your philosophy behind the tea packaging's overall look?
Len Cheeseman: I don't do philosophy.
EH: What is the inspiration behind the minimalist approach?
LC: It's not minimalist, just restrained and exuding quality.
EH: What was your reasoning for using the typeface 'Fedra'?
LC: Its elegance, and it is the right typeface at the right moment.
EH: What was your angle in deciding the coloured background?
LC: Its intention is to create an ambience around flavour.
EH: What were your attitudes towards photography? Were you trying to promote an 'organic' approach?
LC: We just wanted to make the ingredients look beautiful and mouth-watering.
EH: What emotive tones were you trying to draw out of the consumer?
LC: A subtle stimulation of their senses that would draw them to the product.
EH: What was your angle when expanding the look across different media? (Press and TV)
LC: If you start at first base with a brand, it's easy to see the possibilities of where it might develop. Having control of the aesthetics is paramount and makes the brand go further for a client - so staying within the aesthetic instead of throwing ad ideas at it, on top of everything else, isn't always the answer.
EH: When bringing the aesthetic to TV, what challenges did you face converting the static imagery of packaging into an animation?
LC: None, just get the right animator. In this instance Jonny Kofoed, as he is on the same planet as me.