Monster Bash
OBJECTIVE Monster, a group of illustrators who joined creative forces to advertise
in new and unusual ways, wanted to create a series of promotions that would show-
case their creative abilities and establish their brand in the marketplace.
AUDIENCE The target audience ranged in markets. The campaign was sent to exist-
ing and prospective clientele of each of the collaborators. Five thousand trading card
sets and three thousand fl ipbooks were produced.
CONCEPT The Monster trading cards feature various monster incarnations on the
front and background stats on the back, revealing a bit about each Monster’s unique
personality. A number of signed, uncut printed sheets are available for collectors on
the Monster website, www.monsterillo.com.
The Fantastique Anatomatique booklet, designed to be interactive, allows recipients
to create their own wacky monster. There is also an online version, where interested
individuals can scramble the images endlessly.
MESSAGE We’re fun, we’re creative, and you should defi nitely hire us for your next
project.
RESPONSE The series of promotions have established the various
individual illustrators as a unifi ed group. The Monster collabora-
tive has received substantial press coverage from their efforts.
On average, the Monster site receives hundreds of hits a month,
generating traffi c and new leads. There has also been interest
with collectors.
Firm Monster
Creative Direction/Design Gordon Studer (fl ipbook)
and Brian Biggs (trading cards)
Illustration Bud Peen, Gordon Studer, Marcos
Sorensen, Michiko Stehrenberger, Susan Gross,
Michael Wertz, Isabel Samaras, James A. Winters,
Pamela Hobbs, Brian Biggs, Dave Gordon,
and Lloyd Dangle
Printing/Bindery Burdiss Lettershop Services
(fl ipbook) and Coast Litho (trading cards)
Manufacturers A La Carte Line (white plastic bags)
“ Our concept was to produce different
ideas to show our work not only as a
group but also as individuals. Because
everyone’s styles are so vastly differ-
ent, we don’t feel that we’re compet-
ing for the same projects. As a result,
we’ve ended up establishing a loyal
group of art buyers who look forward
to our promotions.”
—Bud Peen, Monster
innovative promotions that work
170
fi g.
1.2
The trading cards come as
a set of ten packaged in a
pearlescent white plastic bag
that is sealed on two sides.
fi g.
1.1
Each card, printed in four-color
process on the front and black
on the back, features a wacky
monster incarnation. There is a
unique monster for each artist
in the group. Stats on the back
provide insight into the various
Monster personalities.
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e
r
fi g.
2.3
The Fantastique Anatomatique
fl ipbook is printed in four-color
process on Sundance 80 lb. cover
with Quintessence 100 lb. gloss
text for the inside.
fi g.
2.1
Sloop ScriptThree is the fancy type
used on the cover; Linotype Deco-
ration is employed as an accent.
fi g.
2.2
Inside the fl ipbook, the
recipient can make his or her
own monster creations using
various body parts—a clever
way to integrate the group’s
diverse styles.
Campaigns
171
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172
innovative promotions that work
Promotions as
Demonstrators
Firm Blockdot/Kewlbox.com
Creative Direction/Design Dan Ferguson
Game Development Michael Bielinski, Shane Culp,
Andrew Richards, and Don Relyea
Printing/Bindery Imaging Bureau (brochure and CD
inserts)
Special Techniques Everest digital printer (CD labels)
Manufacturers US Plastics Corp (cases)
“ Our interactive self-promotions show
how branding can be integrated into a
game experience. By drawing clients
into the interactive environment, we
can effectively demonstrate our cre-
ativity, innovative thinking, and exper-
tise. After spending time playing our
games, clients want something similar
to promote their brands.”
—Dan Ferguson, Blockdot
OBJECTIVE Blockdot, an interactive agency specializing in the creation of adver-
games (advertising-based games), was looking to produce a series of exciting and
entertaining games to use as CD-ROM calling cards for new business development.
AUDIENCE The series of games was distributed to current and prospective clientele,
primarily agency marketing executives and corporate brand managers. For the games
Adventure Elf and Shrunken Heads, fi ve hundred were produced. Action Pack, a col-
lection of the fi rm’s portfolio of corporate games, was produced in a lot of 1,000.
CONCEPT The theme-based games drew content from two well-known, highly cel-
ebrated days. For Halloween, Shrunken Heads engages players, encouraging them to
stop a zany, out-of control candy-making machine from fi lling up a pit with nougat-
fi lled shrunken heads. In Adventure Elf, a Christmas promotion, Santa’s sleigh has
been raided by mischievous penguins who mistake the presents for tuna. Players need
to help Oliver the elf return the gifts to Santa’s sleigh before Christmas Eve. Action
Pack is, on the other hand, both a dynamic portfolio of mostly client-based games
along with informative case studies that demonstrate how advergames can deliver a
highly impactful marketing message. It is used year-round as a leave-behind. Players
are encouraged to submit their game score to the fi rm’s website at www.kewlbox.
com, providing a way to track usage. Once on the site, prospects are able to view a
strong track record of advergames produced for a diverse array of companies. To ac-
company the game initiative, a corporate brochure was created, showcasing the fi rm’s
various services. For prospective clients, a promotional insert card is placed inside the
CD case to reinforce the fi rm’s offerings. For existing clientele, a thank-you card is
included instead.
MESSAGE Interactive games provide content in an interesting and entertaining way.
RESPONSE It is estimated that the various advergames have been played more than
30 million times, generating quite a bit of traffi c on the fi rm’s website. In addition, the
interactive games have also created a substantial fan following.
fi g.
1.1
The 8” x 5
1
/2” (20.5 x 14 cm)
clear, plastic-coil-bound brochure is
printed in four-color process with spot
applications of both dull and gloss
varnish throughout.
fi g.
1.2
The front and back covers, made of
Transilwrap0200 clear matte vinyl
plastic, provide a soft-focus feel to
the fi rm’s highly graphic presence.
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d
s
e
y.
fi g.
2.1
Each interactive game comes in a plastic
CD case. It is customized with signature
graphics on a wraparound insert.
fi g.
2.2
Inside the single CD case is a disc with
a custom label applied using a thermal
process.
Campaigns
173
fi g.
3.1
Each game is developed using
Macromedia Director, Macromedia
Flash, Adobe Illustrator, Adobe
Photoshop, and Maya.
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174
innovative promotions that work
Images of Power
Firm Folie a Trois
Art Direction/Design Aleksandar Mac´asˇev
Production/Organization Anica Tucakov and Tatjana Ristic´
Curator of the Exhibition Anica Tucakov
Director of TV Ad Stefan Arsenijevic´
TV Production DigitalKraft
Music Darkwood Dub
Illustration Mirko Ilic´
Printing Publikum (invitations, postcards, bookmarkers, and
posters) Grafi x (billboards), Adverto (mouse pads), Big Print
(enlarged exhibits)
Client The Museum of History of Yugoslavia
“ In this promotion, we treated the art as a
cultural product that needs to be marketed
like any other product. In post-Communist
Serbia and Montenegro, this is a new
practice. Another thing that was done
differently was that the entire project
was carried out by an independent group
of creative individuals and not by a museum
or cultural institution.”
—Aleksandar Mac´a sˇev, Folie a Trois
OBJECTIVE The Museum of History of Yugoslavia was having an exhibition
of the work of Yugoslavian-born, world-renown designer Mirko Ilic´ and wanted
to promote the event in a grand way.
AUDIENCE The target audience varied from Yugoslavian youth who haven’t
been previously introduced to Ilic´’s work to professionals from the creative
industry who have followed the designer’s career for many years.
CONCEPT Most of the creative works produced employed designer Mirko
Ilic´’s powerful sociopolitical illustrations. Through the course of the campaign,
postcards, bookmarkers, and posters were given away to raise awareness.
Billboards and transit posters placed throughout the city also helped to generate
a buzz. A TV ad, directed by Stefan Arsenijevic´, featured some of Ilic´’s most
signifi cant works in a narrative fashion. A Web page and Web banners were
also created to promote the exhibition. On the day of the opening, the daily
newspaper Danas, which means “today,” featured a supplement entitled Sutra,
which means “tomorrow.” The clever title referenced a rock-and-roll song writ-
ten by Ilic´ during the ‘80s called “I am a man for tomorrow.” The supplement
featured Ilic´’s illustrations and op-ed pages along with personal comments from
the designer’s friends and coworkers. After the opening, postcards, mouse pads,
bookmarkers, and limited-edition hand-signed posters were sold to the general
public. Two invitations were created: one for the exhibition and another for an
opening reception.
The Museum of the History of Yugoslavia, an old bank building that became a
museum during the Communist period, was largely unused until it was revived
during the new millennium. It was the perfect setting for an exhibition of an
artist who reconnects all parts of former Yugoslavia. The exhibition was divided
into sections. The entrance hall featured the designer’s earlier works and posters.
The main hall was used for works concerning the former Yugoslavia. The central
hall was dominated by large prints of Ilic´’s later works along with original
scratchboard artwork, books, packaging design, and several computers showing
the designer’s animated and interactive work. A large screen was placed at the far
end of the third hall so it could be seen from every point of the exhibition, from
the entrance to the end. In a side stairway, Sex & Lies, which had the look of an
intimate peep show, featured Ilic´’s more controversial work. All the promotional
materials were situated at the entrance of the main hall.
MESSAGE Mirko Ilic´ has returned and wants to inspire others.
RESPONSE The promotional campaign created an incredible euphoria
throughout the city, generating a tremendous amount of press coverage, in both
print and broadcast. Over the duration of the exhibition, more than 10,000
visitors attended, raising a great deal of interest in Ilic´’s work and in the issues it
addressed. People from former Yugoslavian republics and distant parts of Serbia
and Montenegro made special excursions to see the once-in-a-lifetime event.
fi g.
1.2
Outside the Museum of the
Histo
ry of Yugoslavia,
towering banners of Ilic´’s
work greeted guests on
their a
rrival. They are digitally
printed onto 450 gsm PVC
plastic.
fi g.
1.1
A series of fi ve powerfully
illustrative billboards, digitally
printed on 140 gsm Rexam blue
back stock, commanded the
roadways.
T
p
E
i
b
s
a
d
g
i
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