Even the mild-mannered have something that drives them wild. And now that StubHub, the world’s leading secondary ticket marketplace, is not just a place to buy, but a place to discover, that wild thing is busting out all over. The new “Let Your Fan Out” campaign — which succeeds our beloved Ticket Oak work — is busting out all over TV, mobile and web, from Monday Night Football to page takeovers on ESPN. And don’t miss our updated logo and brand ID as well.
The maniacal little you is jumping out of banners and taking over pages and generally wreaking havoc in the digital realm, too, thanks to the even more fan-friendly StubHub.
After 15 years, it was time for a refresh of the logo, which goes from curvy talk-bubble to angular, from drop-shadow on the exclamation to none. Of course, the updated look and palette was carried throughout the brand identity system, bringing a certain style of photography as well, along with a certain stylish confidence to the brand.
Though the Ticket Oak, who starred in StubHub ads and social media for years, has gone off to Adweek’s Mascot Hall of Fame (for real), the big guy is not forgotten. So if you’re jonesin’ for an oakin’, here he is, one more time.
Funded by the California tobacco tax, this comprehensive, integrated campaign was the first major effort to address the health uncertainties of e-cigarettes, especially for young people.
With strategy and media planned and purchased by D/C, the campaign sought out e-cig users, and the people who care about them, wherever they gather. That indicated a major TV buy, as well as a substantial presence at targeted outdoor locations, with both billboards and wild postings.
Borrowing from old cop shows and buddy flicks, the spots accentuate the positive in a market that had been relentlessly negative and depressing.
Not only did viewers rank the TV spots above those of market leaders Corona and Dos Equis, they gave them the third highest score for any alcohol-related ad that year. Which might be one good reason for a frothy 37% sales increase.
Beyond TV, the campaign extended the deadpan wisdom of the Hawaiian brothers into outdoor and social.
Campaign rolls into new territory for its third year, taking the viewer inside the doctor’s examining room, demonstrating that whether you’re young, old, male, female or just a sweaty, nervous wreck you’ll always find a sympathetic listener here. TV is complemented by digital, social and outdoor.
Print and out-of-home, including subway station dominations, ensured the client, too, was heard — more than once, in many ways. The print executions delved into specific mother-oriented services.
People love to post pictures of their nails — it’s practically an internet subgenre. But, until now, no one had tried to capitalize on it. No better moment than the launch of this unique new lacquer from Sephora. The Formula X site is a rainbow-hued, deeply interactive, comprehensively social place for fans to share, show off and snag new ideas.
You can search every which way, including by color. You can post — whether pictures of your own nails or pictures of the colorful things that inspired you. You can follow other users you think are cool. And you can look for the Formula X products that fit you.
It’s not about dipping a toenail into social. This is a real social site for a real community, offering user profiles, portfolios and preferences, and generally enabling the delight of being fangirls together.
To spur awareness and participation, this train case, full of Formula X product in a riot of unpredictable colors, was delivered to nail artists and social mavens, who responded with fangirl enthusiasm.
Digital goes dimensional: for the European launch of Formula X, D/C outfitted the world’s largest Sephora store on the Champs-Élysées with a grand, physical realization of the website, echoing the distinctive diamond patterns, dazzling colors and overall fun, while making it eminently practical for shoppers. The display also established the model for the Formula X retail experience around the world.
Once an internet bubble baby, represented on TV by a cartoon super-agent, the company had thoughtfully honed its technology to give users an uncluttered, unimpeded, utterly functional — yet friendly — experience. The sweeping rebrand both signaled and revealed the transformation.
“Cartoon car insurance” is what focus groups had dubbed it. Consumers had trouble believing there were humans behind the internet facade. The campaign promised there was a wacky office full of down-to-earth, eager-to-please peeps, who would be there when, as the intentionally verbose tagline notes, you need more than a well-designed website to guide you.
Bus sides and boards further spread the news that Esurance is not just the easiest place to get car insurance, but the most friendly and reliable.
The essence of the brand — that it’s no-b.s. car insurance for the modern consumer — carried through to the design of the new website, which also picked up characters from the TV.
A way to enshrine your most precious moments, pictures are the stars in Blurb books. So pictures are the stars in Blurb ads, which demonstrate how a custom book can literally and figuratively frame an emotion.
Through words and pictures echoed later in the ad campaign, this internal brand exploration — including proposed packaging — sought to codify the company’s commitment to clarity and creativity, while guiding and inspiring staff.
With its single, bold images and minimal copy, the print campaign translated well to digital, whether carefully chosen display units, book-like tablet ads or competitive jabs.