Skittles has been dazzling fans with Pride-themed packaging since 2020, reinventing their classic design each year to amplify awareness and spread joy. This year, the vibrant new pack, crafted by NERD’s dynamic LGBTQIA+ talents Shay Hamias and Esther Lalanne, bursts with fun and energy to honour the LGBTQIA+ community.
NERD, an eclectic team of directors, illustrators, and photographers, is renowned for their creative flair and commitment to diversity across various platforms. Their recent collaboration with Skittles on the annual Pride pack is a testament to their shared mission of celebrating and uplifting the LGBTQIA+ community with exuberance and style.
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For this project, Milana (NERDs Founder & EP) brought in visual artist Esther Lalanne, known for her dynamic style, to lead the design. Together with creative director Shay Hamias, Esther turned the Skittles rainbow into a lively scene inspired by Berlin’s Tempelhof Field. The design features hands, feet, and a single head, all engaged in different activities like roller skating, playing musical instruments, and forming a love heart with multiple hands. The design also includes an easel and a camera, symbolising creativity and capturing the moment. The vibe is confident and carefree, with the tagline: “When you find your community your colours shine.”
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Esther shared that balancing diverse identities in the design was a delicate and intricate challenge. The final artwork brilliantly captures a supportive and creative community spirit, using vibrant elements that resonate with everyone. Instead of individual characters, the design weaves together symbols that celebrate unity and self-expression, keeping the essence of togetherness at its heart.
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With Pride Month upon us, the limited-edition pack is now available to consumers, and Skittles has promised to donate $1 for every pack sold (up to $100K), as well as match donations up to $25k. These contributions will go to GLAAD, a non-profit LGBTQIA+ advocacy organisation that has partnered with Skittles for Pride Month every year for the last five years.
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Today, join us for a conversation with Hayley Morris, the director behind the captivating stop-motion animation for MTV’s “How to Triumph Like a Girl.” Hayley shares behind-the-scenes insights and gives a glimpse into her creative process. We delve into her experience of navigating her first project as a new mother, adding a deeply personal layer to her artistic journey. Finally, we explore what Hayley has been passionately pursuing since then.
I was contacted by MTV to create a film for Women’s History Month through their “SEE ME, HEAR ME, KNOW ME” campaign. Their goal is to support underrepresented creatives by commissioning and paying for their creative concepts, providing funding for production, and by turning over their social and linear platforms to artists so the world can hear and see their unique voice and vision.
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It’s rare to create a project with such creative freedom and the support to make it happen. When brainstorming, I knew I wanted to create visuals for poetry. I researched many poets and writing and came across a poem titled “How to Triumph Like a Girl” by Ada Limón. I loved how it felt empowering and that’s the feeling I wanted to convey to the viewer. The MTV team contacted Ada and was able to license her poem for this piece. Once we had the go-ahead I knew I wanted to speak with other women and get their perspectives and interpretations of the poem along the way. During my storyboarding process, I spoke with colleagues, family and friends and wrote down many notes. Then I took their insights and my feelings and tried to translate them visually to Ada’s words. Working with the MTV team was so much fun. They were so kind, supportive and gave me really valuable feedback when I asked. This project won GOLD in the Fully Animated Piece category for the Telly Awards and was the 2023 Promax North America Awards Silver winner in Motion Graphics.
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Do you remember any specific life or creative lesson/s from this project?
This was the first big project I did after having my daughter. It had a different weight to it, and I think I brought this new perspective to the animation. I also had to lean on my mother and mother-in-law to help with my daughter while I dedicated time to the whole production process. The whole film and the behind-the-scenes of how it was made were possible through the help of other women. I suppose this project opened my eyes to how my creative process has changed since becoming a mom.
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I can no longer stay up until 4 am animating. I had to create a different schedule and lean on a lot of women and my husband for help. I was always resisting asking for help in a stubborn lone wolf kind of way. Now, I know it’s essential to get things done and to create good work. I had a fellow teaching colleague create a 2d animated sequence for one section that I translated into paper and worked with a compositor to compile my elements together in the final scene. It opened my eyes to the possibility of future collaborations and how to pull in other people in many ways, whether it’s in small ways like the brainstorming process or full-on collaboration.
How different was your style then compared to your style now?
I have been working on paper for a while. I love it as a medium for its endless possibilities as well as its constraints. For this project, I wanted to limit myself to watercolour paper and replacements. I discovered I loved the texture of the paper when it slightly wrinkled and went with that look throughout the piece.
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I feel like my style is always evolving and I’m always trying new things for every project… but I like to keep the same sensibilities when it comes to attention to detail, colour, symbolic representation, texture etc. Right now I’m venturing away from paper and exploring working with clay. I’m loving it! Right now, I’m creating a 1-minute animation that will be displayed on the Daniels & Fischer Tower in downtown Denver, Co. I’m excited to see my animation on this scale and how this can open my work to be shown in different contexts.
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Catching up with Amanda, we took a peek into her creative journey and explored her sources of inspiration, her favourite work, and found out she really is a true NERD!
What has been the most exhilarating source of inspiration shaping your bold and playful style in illustration, and how has it evolved throughout your career?
I have always drawn from my own life and interests. I enjoy drawing the things I love, things I think would be clever, my surroundings, things inspired by memories, current happenings, or things I wish existed. Inspiration can really come from anywhere at any time. I have taken pictures of trash in the street because I liked how the colours looked together.
I think it’s very natural for an artist to continuously grow, and at the same time hone in on what makes them consistently and uniquely themselves. Over time, my style evolved naturally. I pretty much use the same base formula when I make new work, but expand it by tweaking things here and there. I just do what feels right to me at the time.
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Could you share with us a memorable project where you offered a clever creative angle to a concept, and how did you approach the process to achieve it?
Vice had me come up with some unique banners for each of the astrological signs for their horoscope section. This concept was inspired by a big corkboard I had in my childhood bedroom that had a bunch of my stuff stuck to it. (photos, drawings, stickers, tickets, small toys, crafts, trinkets, etc)
The creative process for this was very involved, but also very fun since they really let me run wild with this idea. I worked closely with an astrologer to come up with specific items to fill each sign’s ‘cork board’. Putting these together was meticulous since each item had a specific purpose behind it, which I still think is really cool when I look back on it.
As both an illustrator and a professor at the School of Visual Arts, how do you balance your creative pursuits with teaching and mentoring aspiring artists?
You have to make time for the things that are important to you. Both creating artwork and teaching are very rewarding to me. With my art, I do my own thing, and I guide each of my students to do their own thing, too.
I remember what it was like and how it felt when I was a student at SVA, I learned so much while I was there. And over the years, my career experiences and personal work have taught me things, too. I’m grateful to be at a point where I can pass my knowledge and help young artists blossom. Even as someone who now teaches others, my learning and development are constant.
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And finally, tell us a NERDy fact about yourself 🙂
I definitely have a bunch of niche interests, but some of my more ‘nerdy’ ones revolve around Japanese media. I have a few different old video game systems still plugged in. I never gave up playing games like Katamari Damacy and Dance Dance Revolution. I also still take care of Tamagotchi. I read manga and watch a lot of anime, too. ✌️
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Billelis’s distinct visual style serves as a testament to his unconventional inspirations. Drawing from a diverse array of influences including religious iconography, Tarot symbolism, sci-fi aesthetics, demonic imagery, Renaissance masterpieces, anatomical illustrations a la Da Vinci, classical Greek and Roman sculptures, Baroque extravagance, tattoo artistry, and adorned saints, his work resonates with a haunting beauty that defies categorisation.
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Bill’s recognisable artworks have captivated audiences across the world, propelling him into collaborations with industry titans such as Nike, Warner Music, Netflix, Red Bull, Sony, and Apple, among a myriad of others. Through these partnerships, he continues to push the boundaries of artistic expression, leaving an indelible mark on the creative landscape.
We sat down with Bill for a cup of tea, (yes he drinks tea… just like us 🙂 ) to find out more about the most prominent moments of his career and hope for the future.
What’s the most exciting place one of your artworks have lived in?
Choosing between Times Square and The Dart Milan art gallery is a tough decision! Both hold significant moments in my career and are iconic in their own right.
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What is something you’re looking forward to exploring or learning more about when it comes to your craft?
Discovering the fulfilment that arises from achieving a genuine balance between life and work has been a game-changer. Over the past decade, I immersed myself in work, but it took a toll on my personal life. Recently, I’ve made a conscious effort to prioritize my free time, and surprisingly, it has led to heightened productivity and inspiration. It’s as if setting self-imposed deadlines at the age of 35 has proven to be incredibly effective for me.
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Do you have any dream illustration projects? What are they?
We love a glass ceiling, don’t we? I have been so fortunate to work with many aspects of Hollywood and the gaming industry, coupled with the music industry and publishing book cover scene, I found myself spoilt for choice.
I have recently really enjoyed working on more collaborative projects like beer can artwork, stage art for bands and personal illustrations.
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I would love to create a coffee table book with my entire body of work, but focusing on commercial opportunities I would have to say more gaming projects and perhaps a curveball would be fashion. The tangible aspect of my work out in the world is very fulfilling.
Animators are the magicians of filmmaking – to animate means, quite literally, to bring to life after all. So today, we wanted to celebrate one of our animation directors Alicja Jasina, who fills our creative hearts every time we get to speak or see her work!
“A line is a dot that went for a walk”, as famously stated by Paul Klee, deeply resonates with Alicja’s artistic journey. For her, a line serves both as a medium and a distinct way of thinking – often defying conventional linear perspectives. Alicja’s films received many prestigious recognitions, including the shortlist at Oscars in the Animated Short Film category for her short film “Once Upon a Line”. With a blend of elegant designs, sharp wit, and a unique conceptual approach, Alicja’s boundless creativity consistently captivates and engages audiences. Commercially, her line animations have earned her campaigns for renowned brands including Google, Casper, Disney, and Airbnb.
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How did you first fall in love with animation?
Animation is part of my everyday diet, though I don’t always consume it as ferociously as in the picture below :D.
I vividly recall my first time at school at Kingston Uni when I crafted a few frames in Flash, creating the illusion of movement – it was truly mind-blowing.
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For me, in animation, the focus isn’t solely on a single frame, not even on the in-betweens, but also on what’s in between the frames – the flow, the potential, something hard to express, less defined, more ‘in the movement’.
At times, I catch myself getting caught up in the technical aspects of animation. That’s why I prefer to keep it simple – to stay grounded and remember the core essence of what I do.
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To this day, I remain intrigued by the concept of motion, and I sometimes conduct quick film experiments, treating my body as if it were an animation element – akin to being part of software moved by a cursor.
Tell us about the animation project that kick started your career?
It was my thesis project created at the University of Southern California, “Once Upon a Line.” It received numerous awards and was shortlisted for an Oscar. This recognition brought up many work opportunities and gave me the confidence I needed to pursue this career.
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From your perspective, what’s the key to animation that really lives?
Energy and thought behind it.
Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?
“Turbo Love” was a fun personal film with a well-defined concept behind it – the kind of project I like. The real challenge for me was the shoot day.
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I asked the crew to redo certain shots many times to achieve the precise outcome I envisioned for my animation. There were moments when I sensed some frustration from the DP – you can see it reflected in his expression in the picture above :D. But perfection we did achieve!
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I learned that providing explicit instructions to our actress, Dominika, about each gesture might not be the most effective strategy for the most satisfying performance. Unlike my animated characters, who don’t require such independence. Although at times, they do take charge and start to take actions by themselves – that’s when the real magic happens, in my opinion.
Directing on a live shoot was a truly unique experience, quite distinct from my usual routine of drawing on my Cintiq. That’s when I feel I have proper control of my work. Just like in the illustration above, during the creative process, I like to be comfy and keep my feet warm 🙂
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What sort of briefs or projects do you find more personally satisfying to work on?
Something “in line with my line”, which is a client hiring me specifically for my distinctive style. This was the case when I was approached to direct a commercial for Swiss Life bank. The client had liked my previous films a lot and desired the minimal, quirky, “smart” line animation that defines my work. When you see a big “chunk of yourself” in a bigger campaign like this, it is truly satisfying.
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Currently, I’m immersed in the creation of a short film with the potential to evolve into a show, supported by the Polish Film Institute and Pomeranian Film Fund. It tells a story of a 20-year-old Lotar who is crushed and overwhelmed by the reality around him and through immersing himself in rap music, he gradually discovers his voice. I’m lucky to be working with a talented crew of animators; without them, it would be hard to pull through – the aesthetics are much more intricate than my usual work. Even at the design stage, there were moments when I felt I might be buried under the layers of the project :D.
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Outside of the field of animation, what really inspires you?
Illustration and art. I love being outdoors as well – running, biking, roller-skating, hiking – that all gives me a breath of “fresh air”, inspiring new ideas to bring into my creative practice. Nature, traveling, spending time with friends – all that recharges my batteries.
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And to finish off, tell us a NERDy fact about yourself!
Recently, I enrolled in a course in Spanish law – pretty NERDy, right?
The winner of Portrait of Britain 2024 and now a part of the Museum of Youth Culture, we’re excited to welcome Ellie to our growing photography roster. From documenting British subcultures to partnering with brands like Adidas and Nike, Ellie’s work resonates globally.
Her unique touch lies in her use of film processes, adding a certain depth to her storytelling. She sparks conversations, challenges stereotypes, and crafts to create authentic narratives.
We sat down to chat about her inspiration and favourite pieces!
Portrait Of Britain 2024 ’Reiss Nelson – Versus”
Your focus primarily lies in capturing people, especially through portraiture. What draws you to this particular craft?
A fascination and interest in people, wanting to learn from and understand everyone & anyone around me!
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
The first long-term project I worked on was photographing and interviewing women in the grime scene. I was in university when I started it and was still very much learning how to take photographs and had never interviewed anyone before. I learnt so much from that project, how to create a visual style through my imagery, how to organise shoots, how to design and self-publish a photo-book, as well as learning so much about myself, those I was photographing and the scenes I was immersed in. That project will always have a special place in my heart, and is a reminder of how far I’ve come as a photographer on my journey.
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Are there any emerging photography styles/trends you are currently interested in and looking to introduce to your work?
I’m interested in taking a deeper socially engaged approach to my work, making it a more collaborative experience. Whether that’s through adding elements they’ve created, such as their own artwork or writing, or working together to create an aesthetic that they feel honestly represents them in an authentic way.
What are your career hopes and goals for 2024?
I would love to start a new social documentary project, and to hopefully get it funded.
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And to finish off, tell us a NERDY fact about yourself.
I get very excited about alternative printing methods, for instance taking a two-day algae printing workshop with photographer Laura Pannack last summer. So much fun!
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Coming in hot is a new signing at NERD Productions – fashion, beauty & editorial director Rodney Rico. With an honors degree in Filmmaking from Kingston School of Art, Rodney made his mark crafting videos for top magazines and luxury brands worldwide. Inspired by classic films and French New Wave cinema, Rodney’s style stands out from the rest and we can’t wait to see his next creative adventure as part of our creative family. We sat down with Rodney to chat through our ‘get to know’ questions and what can we say, he really is a true NERD!
How would you describe your approach to storytelling and visual style as a director?
I’m still very traditional when it comes to filmmaking—I try to be efficient but also bring a sense of realism. I can think of many ways to set up my camera movements to convey the visual storytelling, but I usually end up just holding the camera (handheld), and it becomes more personal to the viewer.
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
I wrote an essay about Disney as part of my final year project, specifically about The Little Mermaid (1989). I was approached by the producer who was organizing an editorial shoot with an actor starring in the Live Action version, so I was super keen to join. It was a full-circle moment, and I was happy with the results.
If your life was a movie, what would its genre be?
I’m a big horror fan, but I wouldn’t say I want my life to be like a horror movie—maybe more of a romance. Romanticising life keeps me happy in general, and I wouldn’t have it any other way.
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What are your career hopes and goals for 2024?
I want to work closer with different talents and get to know them better on a personal level before a shoot. I really want to capture their essence and mix my own personal style into it.
We find ourselves in a world where asylum seekers face formidable challenges, where political decisions can exacerbate their plight, as evidenced by recent developments in the UK.
We sat down with Elmaz Ekrem to talk about her film ‘The Law of the Sea’ that makes us shed light on the interconnectedness of the world crises, urging us all to reflect on the choices we make as a society and to embrace the notion that compassion and empathy must guide our actions in these turbulent times.
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What is the story behind making ‘The Law of the Sea’ ?
This film started life as a graduate project but ended up being televised by Channel 4 as part of their Random Acts series in 2016. It is not a pleasant origin story.
In the summer of 2015, the European refugee crisis was escalating in response to the civil war and attacks by ISIL in Syria. I was on holiday in Turkey. That September, the bodies of drowned children washed ashore a few hundred miles away from where I sat on the beach.
The sadness and grief I felt were overwhelming and I decided I needed to use the opportunity to make my graduation film about this. To make a film about anything else felt like an act of inhumanity. How could I not acknowledge what was happening in the world?
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The team went to Lesvos, one of the Greek islands to receive thousands of migrants crossing the Aegean Sea,and interviewed many people involved in the migrant crisis from volunteers to medics to fishermen. It took a lot of interviews before we found the angle of the documentary and it emerged while translating and transcribing the interviews. We realised that the perspective of the fisherman of Lesvos had been rescuing refugees while going about their usual schedules, and spoke of their unique and heroic experiences with the same level of nonchalance as describing their occupation.
The film, once a dream born out of empathy, found its way to Channel 4, where it would be broadcasted to a wider audience, touching hearts and minds around the world in December 2016.
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What would you like to share to our audience about advocating for migrants and refugees?
After making this film, using art, documentary and filmmaking as a form of activism to advocate for migrants, refugees or displaced indigenous communities became the forefront of my practice, and something I’d like to share is how the climate crisis is something that intersects through humanitarian and social injustices.
A quote from the Zurich Group on how conflict worsens the climate crises, or vice versa:”This domino effect was felt in Syria, where the desertification of formerly fertile farming land between 2006 and 2010 meant crop yields plummeted, 800,000 people lost their income and 85 percent of the country’s livestock died. As people lost their livelihoods, food prices soared and 1.5 million rural workers moved to the city to find jobs. Those left behind facing poverty were an easy target for recruiters from the Islamic State… societal issues caused by climate change worked to exacerbate existing tensions. The result was a conflict that fueled the world’s worst refugee crises in decades with around 6.6 million Syrians (roughly a quarter of the population) forced to flee their country.”
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My main message is ‘REFUGEES ARE WELCOME’, and should be granted safe passage. But if you’re reading this you probably agree with me.
The horrible truth is that there are people who disagree. As recently as August 2023, the UK home secretary Suella Braverman refused to endorse a scheme that would help asylum seekers in the UK, despite it being described by the UN as “more humane” while she pursues increased detention capacity for immigrants, a programme which is estimated to cost billions.
As we navigate the climate emergency, we must recognise that global conflict and migration are intrinsically linked. Together, we can create a world where refugees are not only welcomed but embraced, where the threads of compassion bind us as a global community, and where the darkest of times can give rise to the brightest of futures.
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Introducing Justine, the latest addition to our NERDy family! Going by the motto ‘if it can be crafted, it must be made’, Justine is a dog-loving and an award-winning director with a diverse portfolio, ranging from heartwarming moments to action-packed car sequences.
Get to know Justine in just 3 mins below!
What are 2 things our readers should know about you?
I used to teach kids’ drama lessons to raise money for my gap year. It was my “Steve Jobs typography” moment. At the time, I thought it was to make a quick bit of cash and it ended up being a catalyst for a lot of my career/work.
I love the research and pitch process as much as the production process – it is where the heart of all work starts. It is a time for learning, discovering and dreaming (before all those pesky logistics set in).
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Tell us a short story of how you became a director and your journey so far.
I spent a few years cutting my teeth in creative research and becoming an advertising NERD. My catchphrases are all still from those good old ads and they make sense to no one except my husband, bless him.
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About 8 years ago, a producer I had met through this research journey, the very brave Brenda Wilson, approached me to start a company and we became an all-female partnership along with production legend, Lebo Mabuela.
The three of us built our reel from scratch and found niches we never thought we would – kids & cars being top of the list.
My research background opened many doors into conceptual and smart work and we managed to pull off some super interesting work like Siemens Fabric (through King James).
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
It must be a spot for ‘Toyota’ – MARS.
Creatively, the job spoke to so many things I love – cinema, landscapes, kids, storytelling, science vibes…who DOESN’t want to nerd out in Star Wars land?
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Personally, it was remarkable to scout and shoot in such an isolated part of South Africa. The landscapes were truly out of this world. Filming in harsh environments with day time temperature going up to 39C and torrential downpours the night before shoot, comes with its own unique set of challenges, but motivating crew to work through it and achieving the most gorgeous shots makes those days extra sweet.
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And to finish off, tell us a NERDY fact about yourself.
There are few things that are not NERDY about me. 🙂 I love anything that will keep my hands busy – embroidery, paper flowers – if it can be crafted, it must be made.
Step into a world where magic, laughter, and creativity converge. Join us as we uncover the magic behind the making of SpinMania – a journey that promises laughter, wonder, and a truly enchanting experience. Discover a captivating journey of a director whose background includes legendary animated shenanigans featured in Hollywood franchises like Madagascar and Shrek.
Light & Mathematics aka Peter S, as someone who has contributed to iconic franchises like Harry Potter and Star Wars, how do you plan to infuse the magic of those worlds into this commercial while still keeping it fresh and original?
I approach every project as an opportunity for world-building and storytelling. Who are these little characters? Where do they live? How do they move, play, and explore? In the case of this commercial, my goal was to draw upon the whimsical charm and fantastical elements of these renowned franchises in order to imbue these fantasy figures with a life all their own.
Click the image to see the spot
Drawing inspiration from the rich storytelling and imaginative settings of the Hollywood films I’ve contributed to, I sought to create a world that resonates with audiences on a nostalgic level, evoking the same sense of fantastical, somewhat medieval wonder these beloved franchises offer. At the same time, I aimed to introduce a unique and innovative narrative that captures the spirit of Migros and the playful concept of spinning top characters.
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It’s a delicate balance – maintaining the action and humour that fans of these franchises adore while weaving in new layers of creativity that elevate the commercial to its own level. Using classic story-telling techniques, we build on a solid foundation of narrative fundamentals, while introducing new and clever ways for the characters to interact. We want to keep the audience captivated by the new ways they interact with each other, and the vast world around them.
Ultimately, my experiences have taught me the art of storytelling and world-building. With this commercial, I aimed to channel that knowledge into a project that captures the heart of the Migros brand so beloved by the Swiss viewers, delighting and surprising audiences while offering them a truly enchanting experience that feels both familiar and original.
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The concept of SpinMania sounds exciting! The medieval festival setting with knights, mermaids, and Cyclops sounds right up your street. Can you share any quirky behind-the-scenes anecdotes or fun moments from the set that capture the playful atmosphere of the commercial?
One of the most memorable moments transpired during our early character-testing phase. As we explored how the various spinning top characters interacted, we had a whimsical idea to infuse even more drama and excitement into the narrative. While the unexpected twist in the script was that the Mermaid emerged as the victorious champion, we thought it might make things even more fun if we drew the scene out and had them collide more than once, with the losing characters flying entirely out of the scene.
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Picture this: the characters spinning, twirling, and manoeuvring in an epic battle, and then, with a carefully calculated spin, the Mermaid comes out on top – quite literally! Such a good twist, and since we dialled the action by extending the duel scene, the laughter and cheers from the creative team helped us realise that this approach injected an extra layer of fun and surprise into the storyline.
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This playful experimentation not only added an element of excitement to the commercial’s concept but also perfectly captured the essence of the entire production process. These moments of spontaneous creativity define the spirit of SpinMania and genuinely reflect the dynamic and imaginative approach we took in bringing these characters to life.
How did you plan to add unexpected comedic elements that take the audience by surprise and leave them laughing?
One instance where we’ve harnessed the power of surprise and humor is with the character interactions. Take the playful duel between the characters, for example. In a sudden twist, the Cyclops, after being skillfully knocked out of the ring by the Mermaid, ends up soaring skyward, landing comically in a tree. This unexpected turn of events alone should get the audience chuckling, but the comedic touch doesn’t end there!
As the Cyclops settles into the nest, his rather abrupt landing inadvertently prompts a tiny Phoenix chick to emerge from its egg. This whimsical touch adds a layer of lightheartedness. It creates a delightful visual gag that catches the audience off guard, sparking genuine laughter while introducing and highlighting another of the collectable toys.
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These unexpected comedic elements, carefully woven into the narrative, aim to surprise the viewers and evoke genuine amusement. By leveraging creative twists like the Cyclops and the Phoenix Chick, we ensure that SpinMania is not only visually captivating but also a source of true delight, engaging the audience in a way that’s both memorable and light-hearted.
Unveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 152 - Nerd Blog
With the rise of humorous ads, how do you see the evolving role of humour in advertising today compared to traditional approaches?
Humour in advertising has evolved significantly with the rise of humorous ads most recently, moving from a sporadic element to a strategic cornerstone. Unlike traditional approaches that convey information directly, humour engages audiences universally and memorably through positive emotions, kind of like what we do in films made for younger audiences like Madagascar and Ice Age. It captures attention in today’s media-rich environment, fostering emotional connections and brand loyalty without being overly sales-y. Humorous ads entertain, humanise, and amplify brand personality, creating relatable narratives that resonate and endure. In a landscape where authenticity matters, humour is a powerful tool to forge lasting and enjoyable connections with modern audiences.
Unveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 153 - Nerd Blog
In a world saturated with ads, what is the single most important thing when making a commercial you want to be remembered?
The most critical factor in creating a memorable commercial is the ability to evoke a genuine emotional response. Amidst the multitude of ads, those that elicit a heartfelt emotion – whether it’s laughter, inspiration, empathy, or awe – are the ones that etch themselves into the viewer’s memory. An emotional connection transcends fleeting visuals and catchy slogans, leaving a lasting imprint that resonates long after the ad has ended. Crafting a narrative that tugs at the heartstrings or triggers a relatable sentiment is the key to making a commercial that stands out and lives on in peoples’ minds and hearts.
Unveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 154 - Nerd BlogUnveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 155 - Nerd Blog
