I shake my fist at Starbucks, but they definitely know how to use a brand image. This is an attractive website with smooth animations, great colors, subtle-but-pleasant sound (who knew writing in chalk could sound nice?), and chalk dust! Considering the high-quality of the artwork, the frame around the site is a little sloppy, but that’s forgivable. This site actually makes it a small pleasure to take their “survey” and find out what kind of coffee I should buy from them–even if I have no intention of buying their coffee.

Of course this solution won’t always work, but it’s a nice reminder that sometimes bells and whistles aren’t necessary. Keeping things simple while focusing on one solid concept and polishing it to a shiny finish can really go a long way, requiring little leg work to get the message around.

Check it out: http://www.starbuckscoffeeathome.com/


Posted by The Rooster

Friday, May 28th, 2010

iPad Shock in Japan

Japanese tech. companies are reeling from the blows by the recent iGadgets that have hit their shores. Apple, among other U.S. (and Asian)  technology companies, have begun to dominate the Japanese technology market, something that is indeed shocking for a country that prides itself for being on the cutting edge of tech. Companies like Sony and Konami (the video game company) are having to adapt how and what they develop to this changing market. Sony is already working on a iPad-like device.

I don’t find the iPad to all that remarkable, but I love the reaction it’s generating in other computing companies. It’s getting everyone to jump in and take a crack; we’re going to be seeing some great stuff in the near future. I look forward to seeing what those creative Japanese companies think of.

Posted by Ben Paddock

Wednesday, March 17th, 2010

The Times, they are a’changin’

I was reading a great article about the difficulties that news-media outfits — predominantly print publications — are having updating their sites with video and interactive elements that are on par with the quality of their print work, and it got me thinking about the general problem print pubs have with creating a great online experience that matches the quality and aesthetic of their off-set printed publications. Andrew Blum brings up that it’s easier for start-ups, which  I suppose makes sense in an un-pondered, logical sense, but why, really, would it be easier? There are plenty of long-standing print publications that have made pretty wonderful transitions into the web world. Why do so many news sites have horrendous design and layout? Why the hell aren’t they fixing it, when many of them have pretty large financial backing?

He revolves a bit around Monocle, a “stylish international affairs magazine,” who have a wonderful little website going. It captures a mood that’s somewhat elusive on the web, even by some television companies, and keeps the site clean of that muddled, way-too-much-information-at-once look that plagues so many news publication sites. It helps that the mood of the magazine itself was carefully thought out, and probably built in tandem with the site’s web presence, which may be what Blum was implying when he stated that it’s easier for start-ups. However, I think it’s less the simple fact that it’s a start-up, and more that it’s directed by people who actually care about the online presence.

Publications like The New Yorker or Harper’s are just now realizing that they need to tweak their online presence if they want any large internet-based readership, which is quickly becoming as important as the print devotees. They’ve even redesigned their websites, but it wasn’t quite what was needed. It’s not just about adding a new skin, it’s about uprooting the safe zone they’re hiding in and restructuring the entire site. Sites like Scientific American and New York Magazine are great examples of creating a sleek, professional looking online presentation that supports and enhances the content. What allowed Monocle, Scientific American and NY Mag to get there had everything to do with the companies, and the designers within, realizing they can’t cling to print design methods to create a great website. It can’t just have a header that matches the logo-type, with some similar colors and a medley of grids. It has to be carefully planned out and diced up for the online community to digest comfortably and gleefully. Blum touches on this: the idea that the old print shackles must be broken so the interwebs can be embraced.

I don’t think adding high-quality video and flash will make up for low quality of design. Design should come first, with added functionality, like HD-Video following suit. If no one wants to navigate through and read the text on your website, which is what its basic function should revolve around, why would they go there for your videos? An interesting thing to research is whether Monocle, SA, NY Mag and other successful print-to-web pubs went to outside sources for the web design and development, and if The New Yorker and Harper’s stayed in-house. Could it be that keeping the web design in-house fosters that “don’t hurt my baby” instinct that many designers possess, which cuts off options before they’re even presented? Maybe that’s it. Maybe it’s just difficult to let go of their precious baby. That makes sense. Eventually, though, you have to allow it to grow, and sometimes that means others have to come in and help teach it what else is right and wrong. It needs to go to web design school.

Posted by Ben Paddock

Friday, April 3rd, 2009

The Concept Farm wins Emmys for NYC

The Concept Farm announces the honor of winning two Emmy awards from the NY Chapter – one for Cool In Your Code and the second for The American Heart Association’s PSA on stroke awareness.

Cool In Your CodeThe 2009 Emmys mark the fifth consecutive year the New York Chapter of the National Academy of Television Arts & Sciences has honored The Concept Farm for its Hit TV show, Cool In Your Code and community public service work.

The Concept Farm, an independent ad agency, production company and entertainment development group, has over 40 full-time employees and was recently ranked #20 in Crain’s Top 50 Best Places To Work in NYC (it ranked number 7 among small businesses).

“We are a creative company that draws its energy, inspiration and talent from NYC, so being recognized by Crain’s was very important to us,” said Ray Mendez, a managing partner at The Concept Farm.  “Creating a television show that celebrates NYC neighborhoods and public service campaigns that help improve the lives of New Yorkers just naturally evolved as part of our business strategy. The fact that they have received such notice and critical acclaim is a big bonus.”

Since 2004, The Concept Farm has garnered an impressive and unprecedented 23 nominations and 7 big Emmy wins from the New York Chapter. This year’s Cool In Your Code Emmy award for best Advanced Media Entertainment came over three entries from Style.com and one from pbs.org.

When asked to describe the success of Cool In Your Code, Will Morrison, a managing partner at The Concept Farm, summed it up by saying: “Our partnership with NYCTV is in its fifth year and has been very successful and gratifying in many ways. We have created, produced and aired over 40 episodes of half-hour prime-time programming that New Yorkers love and sponsors want to be associated with. We are major supporters of Mayor Bloomberg’s initiatives to use high quality creative formats to communicate a positive message about New York City.”

Buoyed by its consumer appeal and Emmy success, the Cool In Your Code Brand has crossed the ocean to London and roll-out plans for other US cities and overseas markets are currently underway.

The NY Emmy Award for best community service campaign marks The Concept Farm’s second win in this category after winning the Emmy in 2004 for its bold NY Latino Film festival campaign to combat Latino stereotyping.

American Heart Association & American Stroke AssociationThis year’s stroke campaign is truly one of those “only in NYC” initiatives.  Funded by a grant from John Charlsty, a New Yorker who is also a stroke survivor, the sole purpose of this particular American Heart Association campaign is make other New Yorkers aware of the signs of a stroke and encourage them to call 9-1-1.

“John donated a substantial sum of money to the NYC AHA to fund this campaign saying that he would do anything to make sure that others don’t go through what he went through,” said The Concept Farm’s managing partner Gregg Wasiak.   “John instructed us to ‘make it different and have it make a difference’ so we went in with the mindset that when it comes to saving lives, nothing is too far.”

Built around the central idea that “We’ll do anything to make New Yorkers aware of the signs of a stroke,” The Concept Farm pulled together an eclectic group of New York talent including Jerry Stiller and Anne Meara, the Fordham University cheerleaders, Time Warner Cable and even the FDNY’s EMT’s to convey the message.

“The campaign broke the bank in terms of consumer responses as measured by Time Warner Cable’s interactive response metrics,” added The Concept Farm’s managing partner, Griffin Stenger.  “So we know we’re helping save lives….and now, the Emmy award?  Only in New York.”

Posted by Alexander Rea