Agency: Link9, CD: Brian Evans, AD: Chris Mears, Art Producer: Mitch Tepper
Electric Art’s new work for Emporium Melbourne, who “partnered with the Walt Disney Company to add a true touch of magic to launch Christmas 2017.” EA created the CGI Mickey balloons, composited the talent into the picture and retouched it all for the final image.
EA was approached by creative agency, Bashful with a quick turnaround project for Menulog, Australia’s largest online food ordering platform. The task was to create realistic bites out of Menulog ads wrapping buses, revealing the “guts” beneath. The bites were sculpted in 3D, and the metal details beneath were created and composited in Photoshop, resulting in the “made you look twice” effect of the finished bus wraps. Agency credits: CD: Tim Chenery, Art Producer: Ali Dent. Menulog Ad Graphics: Darling Brands
It’s a match made in heaven: Eva began collaborating with the agency-of-record for Panera Bread, Anomaly, last year, after being brought to their attention by the Creative Director at Willoughby, the branding and design studio handling Panera’s POP design. After a Summer Salads campaign with Anomaly, we got to work with Willoughby on the Fall season’s in-store materials, and have since worked with both in combination on several other occasions. What could be a contentious, territorial process has been just the opposite: both agencies respect and support the other and along with Eva’s team and the client, have established a collaborative, fun and productive relationship that we feel truly blessed to be part of. Here is some of the POP work from the Fall campaign. Willoughby credits: CD: Zack Shubkagel, Design Director: Kevin Garrison, Sr. Designer: Angela Snyder, Food Styling: Erin Quon, Props: Natasha Kolenko.
Over the past couple of years, Kolenko has established a wonderful collaboration with Food & Wine Magazine Photo Editor, Sara Parks, which has enabled her to pursue one of main loves: traveling to interesting locations for commissioned photo shoots. Last month’s shoot at the newly remodeled Ponchartrain Hotel in New Orlean’s was the most recent example. Featuring cuisine from The Caribbean Room, the recently re-opened Cajun eatery from acclaimed chef and restauranteur, John Besh, Kolenko got the opportunity to stay and shoot at the famous hotel, covering the food, the celebrity chef and friends, and some fantastic jazz musicians.
Y&R NZ approached EA to help create a motion and stills piece for this year’s CFE campaign for the 38th Australasian Writers and Art Directors Association (AWARD) Awards. This year’s campaign theme is ‘digging deep’ celebrating the tenacity shown by creatives aiming to strike gold at AWARD. Says Guy Denniston, CD at Y&R New Zealand: “Having those big ideas is explained away with words like ‘inspiration’ and ‘flashes of brilliance’, but the reality is much more boring. Doing great creative just takes a lot of hard work. It takes digging deeper, past all the shit ideas, all the mediocre ideas and the pretty good ideas. This campaign celebrates the real graft behind the craft.” It was all hands on deck at EA to turn this motion project around in time for the CFE. The whole thing was created in CGI out of individual pieces of paper, with the flexibility to be sculpted to mimic the scale and structure of a real open cut mine. The challenge was to keep the textures and scale realistic and to ensure the piece didn’t just look technically correct but also beautifully cinematic. EA was thrilled to be involved, an amazing team effort by all.
Agency: Y&R New Zealand, Creative Directors: Guy Denniston & Gavin Siakimotu, Agency Producer: Marique Knight, Creative Services: Claire Dooney
To stand out among the other repping agencies that we co-hosted merge events in LA in NY with, and to highlight our new adult coloring book promotion piece, we decided to create an interactive gallery exhibit and let attendees color large line-art versions of our artists’ work.
merge is an on-going collaboration between S+A and five other agencies; a one-night gallery show of our groups’ work with music, food, booze and socializing, plus a silent auction of our artists’ prints benefiting a local, art-oriented nonprofit.
We did an event in July in LA, and took the show on the road to NY in October. Both events had about the same turnout (approx 200), and both were a great time.
We were excited to compare the results of the coloring between LA and NY, and in the future, how those compare to the other markets we intend to take merge. Based on the these, who do you feel is more creative?
What began as a single assignment from Panera Bread agency of record, Anomaly, has grown into a fantastic, on-going relationship between the client, Anomaly, Panera’s design agency, Willoughby Design, and Kolenko. It’s fantastic to work with such talented, passionate, fair and fun people!! Here is the first effort, an OOH, digital and print effort from Anomaly featuring Panera’s salads, shot on location in Malibu, CA last spring. Creative Credits: CD: Bec Pond, AD: Wan Kang, Art Production: Milisava Tertovich, Producer: Carmel Cottingham; Food Styling: Alison Attenborough, Wardrobe: Lisa Moir, Props: Johnny Goss.
Photographer Jimmy Marble’s agent, a Sharpe + Associates alum and still a favorite, Annika Vogt, brought EA in to help Marble realize a surreal campaign featuring talent experiencing Virtual Reality via their Alcatel devices. Electric Art used a combination of stock imagery and CGI to create the elephant, Orca’s and race car in the ads, light them to match the studio lighting Marble used for the talent and sets, then composited them into the environments and retouched all of the images to get to the final art. Photography: Jimmy Marble; Agency: Envoy; Designer: Megan Brock; Art Producer: Richmond Tyrell
This was one of those jobs that looked deceptively simple on paper. “It’s just shots of people walking on seamless that will be composited together in post.” Honda agency RPA wanted to illustrate the versatility of the new Ridgeline by showing a bunch of different character roles walking towards a Ridgeline (the print version created in CG by Taylor James) as if they were morphing, with the last person placing items into the cargo bay in the truck’s bed. Eighteen versions of the same cast of characters were shot over two days, each propped and wardrobed specifically for a particular role, and each shot with multiples of options. Once the hero selects were chosen, Scott spent a good amount of time comping different configurations of the walkers together to see what worked best, then had to move/change body parts on some of them to make the final art. Throw in additional shots of the truck bed with different storage configurations, several other shots of props to be shown in the interior of the vehicle for digital needs, and elements to fit into three other background plates and you had one heck of a jam packed production. As usual, Scott handled the load with aplomb, thanks to his amazing crew and gave the agency more than they hoped for. Agency Credits: CD: Sarah May-Bates, CD: Rahul Panchal, SAD: Steve Chow, SAD: Suzie Yeranosyan, CW: Ramiro Ramirez; Art Producer: Justine Barnes. Production Credits: Producer: Megan Sluiter, Props: The Faeth Group, Wardrobe: Gillean McLeod, Grooming: Stephanie Daniel.