This project was especially satisfying as it was not only a successful print and outdoor campaign, but it also influenced the look of the product lighting in the TV spots. Additionally the Brand decided to carry the look across each POS program for the entire year.
This was phase II of the previous campaign. After spending a year reuniting consumers with the unique Grolsch swing top bottle, we decided to focus closer attention on all of the interesting characteristics of that bottle with a series of print ads.
The Bud Light Brand wanted to leverage its surfer relationships with an item that would function as POS in the Off-Premise, plus serve as a cool giveaway at surfing events. The answer? This surf-specific tidal calendar- which was produced for North Shore, Hawaii and Orange County, California.
Here is the first of several Bud Light Surfing programs that Momentum produced. The graphic approach used on these autograph cards and permanent POS provided the edge the Brand desired for such a targeted consumer, as well as set the precedent that awarded us several years of surfing projects.
The next two images represent a five month long, 2-page Maxim ad campaign designed to look like an advertorial. Each month featured a real-life bartender, her account, 10 local talent and a few stories that introduced readers to the personality of the club. The campaign was photographed in Los Angeles, Miami, New York and Chicago and featured an eye-catching mix of bartender hero images, along with several lifestyle shots throughout the account.
Anheuser-Busch was poised to launch the national distribution of Margaritaville’s LandShark Lager, but had no idea how to visually convey their brand image. This look was conceived to capture a relaxed, beach thematic- without looking like a Corona ad.
I was exploring a couple of other ideas for a presentation, and I stumbled upon this local print campaign concept. I felt that Tilt, a high-energy malt beverage, could benefit from some attitudinal copy, as well as a bold, graphic look. So I wrote the copy, created a layout, and it was selected for the presentation.
This was another occasion where Anheuser-Busch was looking to develop a brand personality and look for one of their distribution brands—Rolling Rock. While the concept started out as a “This Is Rock Light“ idea, I decided to drop all of the copy and instead, let the dramatically lit bottle and stark white background convey the same attitude.
Here is an image-driven concept that focuses on the “Are you tough enough to drink a real beer?“ attitude. The look features found stock photography and an interesting use of the printed ‘STOUT‘ on the glass as part of the tagline.
For a couple of years, the brewery challenged us with 3-dimensional POS. Each program was an exercise in theming out and branding each side of the box.
The Summer of Silver program started out as a down-and-dirty, one-month POS run to fall in between a couple of larger programs. However, the client liked the look so much that they changed it to their three-month Summer program.
This was Bacardi Silver’s first major POS launch- so we went the extra mile and produced items that featured metallic papers and transparent plastic materials.
Bud Family Mardi Gras was a program that could get away with a non-traditional approach. So we developed a concept that featured a “King of the Krewe” character as our subject, and then asked various Illustrators to interpret that character for the POS. This program, which ran in 2000, featured the illustrated work of Jim Carroll- who provided all the characters, the lamppost and the background.
The second installment of “The King” character was interpreted by Mitch Greenblatt. His characters are sculpted out of clay and feature REAL denture teeth in them. As a bonus, Mitch also sculpted the crowd of people in the dangler. The large banner on the left was produced as a vacu-form banner, which really delivered the 3-D feel of the art.
The third year called for yet another new look for “The King.“ This one, which was created by Kristian Olson, brought about an innovative feel to what could have become a tired concept. The brilliant graphic approach really stood out amongst the clutter of the typical Mardi Gras account décor.
Mardi Gras 2003 was the dreaded year that the program went away. It’s unfortunate because it could have been fantastic- featuring the sculpted characters of Chris Sickles at Red Nose Studios. I also totally dig the interesting approach to the POS Banners.
In an attempt to bring the Mardi Gras “character” formula to another program, I had Chris Sickles and Celia Calle send me pencil illustrations of a male devil character and a female witch character. Their unique perspectives made for some very dynamic Bud Family Halloween looks.
This POS concept shows the versatility of how the featured look carries across several music genres. It also shows unique ways to build displays, whether it’s on a faux stage with spotlights and bubble machines or around a music sampling station.
Outside of the Anheuser-Busch realm, I was often asked to help out with ideation, layout and design on pitches for other teams and clients. These two promotional concepts were layouts I did for a Shell station POS presentation.
The challenge with this Shell Rotella®T program was to communicate several messages across several POS formats.
Way back in the day when Louis London lost the Miller account, we worked hard to win significant new clients. An important part of that process was learning about new brands and experimenting with new styles of imagery and design. I had a lot of fun designing these pieces using cartoon characters and whimsical type.
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