Brand identity for Russia’s World Cup references art, space and a magic ball

The brand identity of the 2018 FIFA World Cup was revealed this week with the launch of the event’s official emblem.


The key visual asset of the first FIFA World Cup to be held on Russian soil was unveiled with the assistance of cosmonauts on the International Space Station, followed by a light projection show on the Bolshoi Theatre in Moscow.

The official statement from FIFA said inspiration for the design was drawn from Russia’s “rich artistic tradition and its history of bold achievement and innovation.” Russia’s space program was also a theme.

READ ALSO: Sergio Brodsky: Football and branding are not just about scoring – they’re about winning »

“The shape of the Official Emblem of Russia 2018 takes on the universally recognisable outline of the World Cup Trophy, while the bold use of red, gold, black and blue in the emblem’s colour palette was inspired by centuries-old techniques seen in world-renowned Russian art dating back to the earliest icon paintings,” the statement said.

“The magic ball at the top of the emblem puts the world’s love of football into the spotlight. And the components of the emblem taken together blend unique attributes of the World Cup and of Russia as host nation. It unites magic and dreams, as the competition will do for millions of fans in 2018.”

Russia World Cup 2018 logo official emblem brand identity 600w


According to Russian sports minister Vitaliy Mutko, the logo was inspired by “Russia’s rich artistic tradition and its history of bold achievement and innovation.”

In a statement release by FIFA, Mutko, said: “Hosting the World Cup is the dream of millions of Russians. We’ve tried to encapsulate that dream in the Official Emblem. The World Cup will change our country and will present a new, modern Russia to the whole world. I’m sure that staging an event of this magnitude will be something that will linger in the hearts of Russians, and in the hearts of fans right around the world, for a long time to come.”

FIFA President Sepp Blatter said it reflects the “heart and soul” of the country. “To creatively capture the essence of this remarkable historic moment inspiration was drawn from both Russia’s rich artistic tradition and its history of bold achievement and innovation. I hope that fans around the world will appreciate and love the Russia 2018 emblem.”

“The launch of this visual icon is a key milestone on the road to the 2018 FIFA World Cup, and one that we are extremely proud to share with the world. The emblem blends unique attributes of the FIFA World Cup and of Russia as host nation. It unites magic and dreams, as the FIFA World Cup will do for millions of fans in 2018,” said Blatter.

The logo was first unveiled by Russian cosmonauts Elena Serova, Alexander Sovokutyaev and Maxim Suraev from the International Space Station:


And then projected onto the Bolshoi:


Reactions to the design of the brand identity have been mixed. USA Today sports blogger Nick Schwartz wrote that “Russia’s 2018 World Cup logo is surprisingly great.”

The Fox Is Black, a design blog, disagreed, however (but did like the typography): “Incorrect USA Today, this is awkward and inelegant. It looks like an alien blob, or a sneak peek of Russia’s plans to rule outer space. The type is interesting though.”

Locally, said it looks like an alien.

There was, of course, also numerous social media commentary taking the opportunity to criticise Russia over political issues, and some European politicians have called for a boycott. Interestingly, the cosmonaut who first unveiled the logo made a short speech about the lack of borders visible from space and how that relates to football (see video above).

READ ALSO: Shortcomings of Sochi 2014 branding hint at deeper issues with Russia’s country brand »

In sponsor news, McDonald’s, for which the 2018 World Cup will be its sixth since becoming a sponsor in 1994, has hinted at its plans to leverage its sponsorship of the event. John Lewicki, senior director of global alliances, said: “For 20 years our partnership with FIFA has been all about bringing fun, innovative programs to our customers around the world and celebrating our shared love of football.

“We saw incredible excitement among fans and throughout the McDonald’s system for our 2014 World Cup programs, including Player Escort, Ultimate Fan and the redesign of our iconic fry boxes featuring an interactive augmented reality game. We’re looking forward to… continuing our connection with football fans all over the world,” Lewicki said in a statement.

FIFA’s brand ‘Partners’ include Adidas, Coca-Cola, Gazprom (for 2018 only), Hyundai/Kia and Visa and World Cup ‘Sponsors’ include Anheuser Busch InBev and McDonald’s.


Rising to the occasion: Abbott’s Village Bakery brand launch

Campaign: Abbott’s Village Bakery

Client: George Weston Foods

Agency: Landor Associates


Proprietary bread brands in Australia face a difficult environment because the supermarket bread category is dominated by private label varieties. Competition is fierce, and consumers shop in a repertoire of brands driven by price promotions. Fast-moving consumer goods brands are increasingly forced to play in top-end mainstream and premium segments. For example, Helga’s was the top-selling bread with 63% value market share of the premium segment.

Abbotts Village Bakery 3

In February 2009, George Weston Foods (GWF) engaged Landor to undertake an analysis of its existing portfolio of breads, as well as the overall bread category, in order to identify an opportunity for a bread brand with a distinct and appealing position.


Landor, along with GWF and its partner agencies, needed to create a bread brand that would credibly challenge the competitive offerings in the ‘everyday premium’ segment. In Australia, the bread category was experiencing significant growth. Most of the market growth had been led by competitor brands, with Goodman Fielder dominating the everyday premium segment with two brands. As a result, George Weston Food’s baking division undertook a significant and far-reaching review of their bread portfolio. GWF sought to grow the segment and offer a real challenge to established brands.


The opportunity lay in developing a new brand to compete in the everyday premium space that had enough stretch to also be viable in the ‘gourmet or specialist’ bread category. First, however, a thorough understanding of both the competitive space and the consumer mindset was required.

In the initial workshop, the team acquired a unique perspective on the competitive space and consumer mindset: we learned that consumers were willing to suspend disbelief and buy into a compelling and believable brand story. Further review of emergent category trends and a one-day ideation workshop helped us identify market opportunities. Once the creative territories were refined, we developed brand names and unique stories, platforms, and designs that referenced heritage and distinct eras of time.

Landor produced territories to take into quantitative research arranged along an origin (European/Australian) to modernity spectrum. The aim was to identify territories which resonated with consumers on an emotional level.

Abbotts Village Bakery 2


The quantitative results highlighted six potential concepts to move forward into qualitative research. Each concept was recognised as fitting the everyday premium category, however, we wanted to know which concept would provoke an emotive response.

When we spoke to consumers, one concept stood out head and shoulders above the rest: ‘Abbott’s Village Bakery’. It spoke to a provenance of hand- crafted, lovingly-created bread that took away from the mass-produced associations of the category. For some, the mythical ‘Abbott’s Village Bakery’ was in country Australia while for others, it was in the English countryside. Some commented on the contemporary feel while others felt nostalgia. Either way, it struck a strong emotional chord and was immediately associated with quality, authentic baking. The design also has remarkable shelf presence through the strong use of black which instantly conveyed quality and premium baking cues.

Abbotts Village Bakery 1


The concept of a local community connection resonated with consumers in today’s fast-paced, faceless world and the results achieved bear testament to this initiative’s success. In just 12 weeks after launch, the GWF premium segment grew by nine share points, and Abbott’s Village Bakery averaged around 19% market share by value. Other results:

  • Since launch total GWF premium segment has grown by 8.3 share points,
  • actual sales have exceeded forecast for 11 of the 12 weeks (averaging 198% above target),
  • at week 11, 88% of sales were attributed to switching, pulling 19% from the market leader, Helga’s,
  • 5.3% of sales were attributed to new buyers and 6% to incremental purchases,
  • in the three years since launch, Abbott’s Village Bakery has grown to achieve a share of 24%* of the premium bread market, and
  • Abbott’s Village Bakery Farmhouse Wholemeal is the top selling variant in the range, ranked fifth in the premium market.

* Aztec grocery scan data, dollar share of ‘premium’, quarter to 29 August 2012.


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How to get the designer you want (and get the best out of them)

At 99designs we’ve come to know the design business very well, with more than 180,000 graphic design projects completed through our site since pioneering graphic design crowdsourcing. We’ve seen every variant of designer-client relationship and heard praises sung, curses cursed and war stories told from both sides.

To put the anecdotes we’ve been privy to into context, we recently surveyed more than 2000 graphic designers around the world. We aimed to find out what designers are seeking in their interactions with clients, what challenges they face, and how the best relationships function.

We’ve distilled the results of this survey into a few vital guiding principles that’ll help you develop good relationships with exceptional designers:

Be clear about your needs 

Provide a clear conceptual brief, so the designer knows what they’re trying to express visually. The thing designers like the most is someone who knows what they want – and this goes far beyond the direction to simply ‘make it look good’. You have to clearly describe the nuances of your product or service for a designer to efficiently deliver a design you love.

It’s also important that you’re clear about the terms and nature of a project. If it’s ongoing, say so – designers will be more engaged and maybe even discount their rates if there’s the chance of additional work. If there’s a set time-frame to a job, let the designer know this in advance, rather than calling them and demanding work before deadline.

Make your budget and rate clear, and have regular discussions about remuneration if the designer is doing more hours than you’ve initially budgeted for. Try to pay on time – many small businesses, including designers, experience cash-flow issues, and paying promptly will make good designers keen to work for you again.

Provide creative challenges 

Designers are turned on by creative challenges. More than half of the designers surveyed said the chance to spread their wings and create something amazing is what drives them, with money coming in second.

Find ways to engage your designer creatively and present the problems to be solved in terms of creative possibilities. Our feedback tells you that designers crave your input, and this is your chance to encourage your designer to excel.

Stay in touch 

Designers aren’t just looking to be patted on the head and acknowledged when they say they want feedback during a project. A designer, especially a freelancer who has just begun working with you and doesn’t yet have a good idea of your aesthetic tastes, will want to get a quick ‘yay’ or ‘nay’ on a rough concept or idea before putting in painstaking hours to flesh it out. Taking the time to give quick, constructive responses will strengthen your relationship, and you might even get what you want in fewer billed hours.

Work through disagreements 

At the end of the day, you do call the shots. It’s your money that’s being spent, and your business that will use the designs produced. Very few designers will walk off a job simply because there are disagreements with the client.

Having said this, you’re likely to get far better value for money, and come out with a better product, if you’re willing to incorporate a designer’s input and listen to their reasoning. Designers have opinions, and in the area of visual expressions of businesses, they are experts. It’s likely the designer has sound business reasons for their recommendations, and it doesn’t hurt to ask if it feels like they’ve forgotten to bring you along for the ride.

Encourage the entrepreneur

Designers are businesspeople, too, and they don’t necessarily want a full-time job at your company, or any company (though feel free to offer if you want to snap them up!). In ten years’ time, seventy percent of designers see themselves still freelancing or running their own businesses. This goes to show that the common perception held by business owners that designers are clueless about the business world – which 30% of designers indicated as a leading misperception – is badly misguided.

You should give the designer a quick but thorough background of your business so they understand your narrative, target market and brand. Getting to know you, your customers and your outlook can provide a great knowledge base for a designer to work from.

This might be why designers told us their favourite sector to work for is the art/design business itself. They’re speaking to people fluent in their native language, and working in an area of business they know intimately. If you’re outside this area, make sure to invest the time in setting the right foundation and you’ll find this pays dividends in lifting both the engagement and output of your designer.

Finally, if you’ve got a designer you’re pleased with, grow their business. Recommend them to others in your field, and aim to collaborate on projects you think you’d both excel on. Forge ongoing links with good designers and you’ll be rewarded with both great design work and long-term creative allies for your business.

The below graphic shows some of the key findings from 99designs’ survey of designers.

Click image for original version. 

99designs survey

Living the brand – working with HR to get your people onboard a rebrand

Launching a new visual identity is one thing. Launching it successfully is another. What are the critical elements you need to get right?

One of my colleagues at TANK, Neil Shewan, has spent many hours working with organisations to uncover the triggers that help a new identity hit the mark both internally and externally. I asked him to share his insights:

So, you have a shiny new visual identity, and you are ready to launch. The CEO is on board. Check. The style guide is in place. Check. The PR is ready to roll. Check. The hard work is done. Wrong.

A brand platform needs to focus on four perspectives:

  1. The visual signals we send through our visual language, our signage, our website and our marcomms,
  2. the communications signals we send in our tone of voice, the way to communicate and the channels we use,
  3. the physical signals we send through our built environs, products and brand artifacts, and
  4. the behaviours we signal through our people and our attitude.

This last perspective is especially critical for a service brand. Aligning the behaviour of your people with the attributes of your brand is one of the most difficult parts of a brand project.

As brand and marketing professionals we all understand communications. However, when it comes to change management of people, we often need help. And the reason we need help is that much of the work falls to your human resources team. Getting the HR team involved early in a brand project can assist with the smooth integration of the brand.

In working with your HR team, add the following to your checklist:

Brand reinforcement. After the initial launch of the brand it is important to ensure the attributes of the brand are translated into proof points and actions for your employees. This needs to be reinforced regularly. Consider focusing on a different attribute of your brand every quarter. Brand reinforcement can include coaching, mentoring and training.

Recruitment and on-boarding. The behaviours you need to exhibit through your people need to be built into the recruitment process. What skills, attitudes and experiences are you looking for? Once a new person starts, it is important that the on-boarding process is heavily influenced by the brand.

Performance, reward and recognition. When people are ‘on brand’ they should be rewarded and recognised.

Engagement. Provide opportunities for your team to live the brand, and see what others are doing. This involves events, communications and surveys that seek to engage the team and keep the brand fresh.

External assessment. Know what your customers and clients think of your brand, then feed it back to your team. Ensure there are ways to assess individual performance as well as overall perceptions at a corporate level.

Corporate social responsibility. The behaviour of your organisation towards work balance, sustainability, social justice, supporting charities and work conditions (just to name a few) greatly influences the perception of your brand.

With all these elements in place, a new identity that is strongly aligned with the values and core idea of your organisation is likely to be embraced by those most important to its success: your own people, the best brand ambassadors you can find.


Neil Shewan is managing director of TANK and an active member of various industry bodies including the Australian Marketing Institute, Australian Institute of Management, and the RMIT Design Education Advisory Committee.

The house that Jack Built – Warner Bros brand profile

This feature first appeared in the February 2011 issue of Marketing magazine.

Teen wizards, strong men in spandex, and talking cartoon animals have made Warner Bros the biggest film company in the biz. Brendan Lawley discovers that the values of Jack Warner, one of the founding brothers, of placing business before brand loyalty is keeping the superbrand on top.

What is your first thought when you think of Warner Bros? Stop a second, look away from the magazine and think about it. What does it mean to you?

That’s a question I ask a lot when putting this feature together. The responses are wildly varied; the same one never repeated. People say “movies”, “Looney Tunes”, “superheroes”, and even “that logo with the bats flying out of it or something at the start of Harry Potter”. Warner Bros instantly means a lot of different things to different people, but as one holistic ‘superbrand’, does Warner Bros mean anything at all?

It becomes clear, pretty quickly, that the sprawling personal reactions to the brand exist for a reason: Warner Bros has its fingers in a whole lot of pies, and isn’t about to mash them together.

And the deliberate lack of cohesion shows in brand awareness. At time of writing, Warner Bros has 170,000 fans on Facebook. Disney has 15 million. Disney’s site is entertaining, attractive, interactive and focuses on the brand’s stable of characters, by combining all the old legends like Mickey and Snow White with new favourites like Buzz Lightyear and Nemo on the one page. Warner Bros’ page tells its fans when and where they can buy stuff.

Surely as an immersive, complete brand, Disney wins. If you count up Warner Bros properties, however, it begins to look a lot better for our superbrand. Batman: The Dark Knight has five million fans, Superman in his various guises has about four million, and cinematic Harry Potter has a whopping 12 million Facebook fans. The Warner Bros brand is obviously very strong, it just doesn’t market itself as one brand; it’s the house of brands rather than the branded house.

The positive effect of this approach has been freedom to be involved in just about any project. Disney has a lot of subsidiaries, but it couldn’t put its name behind the bitchy Tyra Banks Show, or make an MA rated version of Batman. Warner Bros can do both. And it won’t do any damage, because no one knows exactly what Warner Bros is.

This won’t stop me from trying to find out, though, and I start to learn about Warner Bros’ focus in Australia when I meet with Warner Bros Australia’s head of consumer products, Preston Kevin Lewis.


Selling out to sell out

“Never in 100 million years did it even remotely occur to me that I would come to Australia,” Lewis smiles, as he recounts the twists in his career that have led the New Yorker to now call Melbourne home. “But really, what I was excited about was that our business was at a crossroads, and there was an opportunity to monumentally change it for the better. And, in careers, it’s not often that you get the opportunity to really manage through a real turnaround situation, and that’s what we had here.”

Five years ago, Warner Bros couldn’t decide if it was worth keeping a company office in Australia. Knowing that Village Roadshow handles its film promotion, I walk in to Warner Bros’ Carlton office wondering what it actually does there. But I leave with one word log-jammed in my middle ear: licensing. Licensing, licensing, licensing.

Licensing is where the money is for Warner Bros in Australia. We’re sitting on couches in the middle of a room, walls adorned by hundreds of licensed Warner Bros’ products: Scooby Doo shampoo, Harry Potter figurines, Batman costumes, Superman deckchairs and a whole lot of other branded products spanning toys, vitamins, toothpaste and cereal. Manufacturers cut licensing deals with Warner Bros to make every one of these products.

“The basic concept of Licensing found its roots as far back as the 1920s and 30s with the rise of mass entertainment such as comics, films and later television,” Lewis explains. “Manufacturers – both yesterday and today –see that they are able to get more people to want their products by associating them with popular themes and characters from TV and film.”

Lewis says Warner Bros has never operated its own merchandising because the operation would be too large, and take away from what the brand does best.

“Licensing allows us to spend the time on what we know very, very well. We know our brands. We know marketing. We know all of the operations around what licensing is, so that means when a manufacturer of t-shirts comes to us and says, ‘I want to have a Green Lantern licence,’ basically that manufacturer has absolute professionals [in Warner Bros], strategic people who can talk to them about the best creative execution, all the background of that particular brand, and what’s going to be the end market activity that you might want to build your program around.”

Interviewing Lewis is the first time I’ve heard there’s a Green Lantern movie in the pipeline, but it certainly isn’t the last time someone involved with Warner Bros mentions it.

“We have a very strict brand assurance process,” Lewis explains when I ask him how they protect against brand dilution. “It is critical that we and our partners do everything in our power to maintain the brand relevance and strength of our characters”. There are multiple steps in our review process, with our partners reviewing product with our brand assurance and creative department every step of the way – concept, final art, preproduction and production – to ensure that every aspect of the product is in sync with the brands’ key consumer touchpoints.”

Fittingly, some of WarnerBros’ strongest and oldest brands are its cast of superheroes.


To have a successful licensing program, a film company needs popular movies and, if there’s anything Warner Bros does very well, it is big budget blockbusters. Warner Bros’ rivers of gold of the last decade, in particular, have been comic book remakes and adaptations, those from the DC Comics stable specifically. Heath Ledger’s last stand in Chris Nolan’s Batman: The Dark Knight helped Warner Bros score its biggest hit ever, with over $1 billion in worldwide box office gross. But it doesn’t end there for Batman. A film is only the very beginning of a brand for Warner Bros, and it is an expert at maintaining consumer engagement in such a product.

“The trick that Warner Bros has been able to do so well is extend the connection with the movies,” explains Steve Totzke, vice president and general manager of Mattel, a major WB licensing partner. “They follow up all their movies with animation. It’s not just a movie, the brand never fades away, there are new licences.”

And it’s true. Warner Bros is brilliant at keeping licences fresh. Despite not releasing any Superman film for years, there are still 10 hours of Superman animated programming running on Cartoon Network every week, along with teen drama Smallville. Batman also hooks up with Superman in animated shows DC Super Friends and Justice League, and has his own show in Batman: The Brave and the Bold. This kind of engagement keeps toys selling and licences renewing.

“Batman is probably our biggest seller,” Totzke says. “It’s one of those truly evergreen characters. You can’t have a toy shelf without Batman on it, movie or no movie out at the time.”

You can tell Totzke, a grown man with a ‘suit job’, still loves toys like a kid, especially Warner Bros toys. He talks about creating “epic, epic toys” for Batman. What’s his favourite toy? “I’m all about the Batmobile,” he says. “We do them for every version, but I think the Adam West TV series was the best.”

That sort of engagement in an adult consumer hasn’t happened by accident, Lewis explains. There is very deliberate and comprehensive targeting of different markets, and character depictions are altered accordingly.

“From a Warner Bros perspective,” Lewis says, “our brands are able to speak to multiple demographics, and one of the things that allows that to be driven in that w

ay is the fact that you can have a creative execution of Superman that is appropriate for a pre-schooler, but you can also have a creative execution for Superman that is appropriate for a 16-year-old boy. And a lot of that comes down to the creative style guides and trends.”

Lewis whips out a comic book style guide and flicks through markedly different drawn versions of Batman. The greatest difference can be seen between a gritty, noir Batman, compared to the bright, straight lined cute ‘kid-appropriate Batman’.

“What a licensee would want to have to be appropriate for that kid six-to-eight would drive a lot of the styling,” Lewis says, pointing to the kiddie Batman. “However, if you wanted to get a creative execution that was more appropriate for an older demographic, then you would go a little bit different. You would treat it differently in terms of what that t-shirt looks like. As an example [gritty Batman] on a t-shirt is not appropriate for that eight-year-old, but it means that Batman can play to the 16-year-old guy that wants a little bit of edge”.

I notice a rack in the licence room of ‘Supergirl’ products. Hats, thongs, shorts… all in that cutesy, colourful, slightly jagged style that brands like Roxy have had a lot of success with among young girls. Apparently there is a character called Supergirl, one I didn’t know existed, but it’s now doing good business for Warner Bros as what Lewis calls a “fashion statement” brand separate from the character.

A Warner Bros press release for a licensing show calls the Supergirl S-shield an “unmatched and universal symbol of independence and empowerment for today’s girl”. If you can say that a piece of cloth is doing such incredible things, you know confidence is high at Warner Bros.

And confidence is certainly high about Green Lantern. Or maybe the every-second-sentence-reference to the 2011 film from everyone I speak to involved with Warner Bros represents a grave fear that it could tank. On the face of it, it looks dangerous… Green Lantern has never been a film, it doesn’t have much resonance with key youth audiences as a brand, there have been a glut of comic book adaptations in the last decade, and it stars an unproven action actor in former teen comedy prankster Ryan Reynolds. But Warner Bros knows how to make a product sell, and it may be that consumer products will be the bigger revenue stream for Green Lantern.

“It’s very toyetic,” Mattel’s Steve Totzke says of Green Lantern.


“Toyetic. It’s a toy industry term. There are certain movies that are toyetic, ripe for toy adaptation; some are not so toyetic. Green Lantern is perfect. There is the good guy/bad guy play; it’s easy to make into figurines.”

Warner Bros has got the formula for making movies that sell licences down pat: Green Lantern – toyetic, The Great Gatsby – probably not toyetic. But what would the original Warner Brothers think of the big budget superhero films of today and the focus on licensing?


The ghost of Jack Warner

They’d be damn happy – especially Jack Warner – because it makes a lot of money. Jack would probably be especially happy about the way the business is run too.

Like many huge and successful companies, communication with the representatives for this feature is a tedious process demanding clearance from many levels of bureaucracy.

The problem with Warner Bros, though, if we’re to believe Lewis’ PR rep’s doodled hierarchy diagram, is that it’s made the bureaucracy so complicated and global, that speaking with almost anyone who is allowed to speak on behalf of Warner Bros takes months.

It doesn’t seem like a particularly clever way to run a business, but it’s doubtful Warner Bros particularly cares. It is in a pretty good place. It’s called the top. It’s the global number one company in box office sales, DVD sales, TV production and theatrical production. And it’s pretty damn toyetic. Times are good for WB, but much of the company’s history was built on a knife-edge, swimming one year in rivers of money, then drowning the next on the verge of bankruptcy.
Innovation and, of course, that sort of iron fist control that prevents me from getting candid interviews. That control runs back to the apparently maniacal Jack Warner.The films always saved Warner Bros, though, from the first ‘talking pictures’ The Jazz Singer and Lights of New York to the first talking colour pictures On With the Show! and Gold Diggers of Broadway. These films helped stop the burgeoning empire crumbling through the Great Depression, and it is clear that innovation is what has made Warner Bros the mega movie power it is.

Ironically, the only tell-it-like-it-is slab of information I get is an official history of Warner Bros handed to me by the PR. It’s a salacious tale of deaths, bribes, court cases, crims and betrayals. But the story of the Warner Brothers still ticks off the check-list of the great American dream. Born to poor Polish immigrants, brothers Jack, Abe, Harry and Sam founded a film company in 1905, which would go on to sit on the cusp of just about every major change in cinema for the next century. Warner Bros made that first ‘talkie’ and the first Hollywood musical. It made the 1930s the era of the grimy gangster film and the escapist musical, and even recently was integral in the Blu-ray disc making HD-DVD obsolete.

After close brother Sam Warner died, Jack became the sole head of production and began a brilliant decline into megalomania. “He ran the studio with an iron fist,” reads the history, “firing of studio employees soon became his trademark.” Jack fired top star Douglas Fairbanks; he fired Bryan Foy, a very profitable B film studio producer no fewer than seven times; Jack even fired a dog, Rin Tin Tin, who he once called ‘The Mortgage Lifter’ because of his successful films. Bette Davis and Humphrey Bogart hated him and tried to get out of their contracts. Jack also fell out with the Screen Actors Guild, because he wouldn’t pay minimum wage.

James Cagney was just one of many stars to sue him. Olivia de Havilland was another: she sued because she was being loaned out to other studios in breach of contract. Jack responded by sending 150 telegrams to production companies warning them not to hire her. De Havilland won the case, though, in a landmark decision, freeing other long-time actors who had been held longer than the contract limit of seven years. An image comes to mind of actors scurrying out of the Warner Bros studio in Burbank, California like rats free from a cage. Jack sounds completely crazy, but was clearly a virtuoso at what he wanted to do: make money. The company he left behind still is. And few characters are dropping more cash into the kitty than a short, bespectacled, English nerd who likes to play with a stick.

Harry Potter

I’m sitting in a café with Preston’s PR, talking about, you guessed it, Green Lantern. We get to talking about Harry Potter. The franchise has been, of course, a mammoth success for Warner Bros, with all seven movies so far grossing over $6 billion. And don’t get started on the toys…

The PR guy wonders aloud the clear question, “What are Warner Bros going to do next with Harry Potter? There aren’t going to be any more movies after the next one.”

He’s right. The common belief is that there will not be any more Harry Potter feature films after Harry Potter and the Deathly Hallows Part II. But Lewis reckons Warner Bros has got it figured out, and will achieve what it has with Batman, Superman and Scooby Doo, and create a sustainable legacy for content and licensing. Warner Bros milks its cash cows until they’re dry, and then it keeps milking them. And who wouldn’t, when it works so well?

“I think what that speaks to more than anything,” Lewis says of maintaining character brand engagement, “is really the heritage that people have with the brands, because everybody knows Superman, everyone knows Batman, everyone knows Looney Tunes.

“If you’re consistently thoughtful about your brand and the product development aspect of what you’re doing, then your brand will continue to maintain that heritage and leverage for years to come… Just because the last two movies are happening, it doesn’t mean that Warner Bros is moving away from Harry Potter at all.”

It’s bright advice, and it’s clear that whatever Warner Bros does with Harry Potter – be it animation, 3D or video games – it knows what it’s doing, and it’s not going to let the magic die easily. Its commitment to the brand was set in stone with the creation of the ‘Wizarding World of Harry Potter’ theme park in Orlando, Florida, which opened this year and recreates the fantasy world from the films.

Despite its genius, however, Warner Bros has certainly made mistakes in the past, and has sometimes put offside the most important people of all: the fans.

In 2008, Warner Bros pushed back the release date of the sixth Harry Potter movie until the following July. Warner Bros president and CEO Alan Horn said the decision was purely financial.

“There were no delays,” he said at the time. “I’ve seen the movie. It is fabulous. We would have been perfectly able to have it out in November.

“We know the summer season is an ideal window for a family tent pole release, as proven by the success of our last Harry Potter film, which is the second highest grossing film in the franchise.”

These comments drew a big online backlash from fans. A lot of angry emails were sent Warner Bros’ way, and a storm kicked up in the comments section of many a page where the story was reported. Horn took notice and later issued a bizarre, slight apology, saying that at least the delay meant there would be a shorter gap between the sixth and seventh films. It’s the kind of action and response one might assume Jack Warner would be proud of. A decision based on making money, and being almost non-apologetic about it, and still knowing that the product is so good that fans won’t be lost over it. Perhaps this storm in a teacup is the reason Warner Bros has a marathon turnaround on clearing interviews, however, because it doesn’t want to stuff up again. It’s a worrying sign for a brand built on taking chances. It sets up a constrained culture, a ‘step here, not there’ attitude. Don’t take a chance, because you may fail.

Another failure for Warner was 3D. It started it way back in the 50s. After some early buzz, it tanked, it was merely a passing fad. Warner Bros has only just jumped back on the bandwagon since 3D’s resurgence, with some questionable executions, like Clash of the Titans, which pales in comparison to 20th Century Fox’s Avatar. Once bitten, twice shy, may be the story of Warner Bros. You can’t blame it, though, 3D almost killed Bugs Bunny…

Looney Tunes

I’m talking to a colleague one morning in the office; he’s wearing a Mickey Mouse jumper.

“Why aren’t you wearing a Bugs Bunny jumper?” I ask him.

“What?” he grimaces. “Bugs Bunny is redundant. When was the last time you saw Bugs Bunny?”

“On a cereal box,” I say. A Coles home brand cereal box to be precise. That licensing arrangement, which had Looney Tunes characters like Taz, Tweety and Daffy Duck plastered over a line of cereal boxes gave some rare visibility for the crew of cartoon characters Preston Kevin Lewis calls Warner Bros’ “crown jewel”.

You can track the Looney Tunes back to the independent Harman and Ising studio in 1930. Former Disney animator Hugh Harman and Rudolf Ising produced a series of musical cartoons called Looney Tunes, featuring a black and white Mickey Mouse-like character, Bosko. The cartoons were sold to Warner Bros. Harman and Ising’s shorts moved on to MGM briefly, before gaining global popularity with Porky Pig for Warner Bros. Next, Daffy Duck and Bugs Bunny became huge cartoon stars and, before you could say “That’s all folks!”, the studio was bigger than Disney’s animated shorts unit. Warner Bros eventually bought out the studios completely, and the Looney Tunes cast of quirky characters finally created a recognisable Warner Bros brand identity.

It wasn’t all smooth sailing for the Tunes, though. In the early 50s, after producing a 3D Bugs Bunny cartoon, Jack Warner ordered the animation unit to shut down. Jack thought he had discovered the future in 3D, but he soon realised he had to salvage the 2D studio. Luckily, Warner Bros had a backlog of old cartoons to use, so the release schedule wasn’t interrupted.

Recent growth of the Looney Tunes brand in Australia is hard to pinpoint. Tweety Bird had that sort of strange, kitsch Betty Boop-like collector popularity earlier this decade, with just about every girl’s pencil case adorned by the little yellow bird. But other than ostensibly consumer-driven revivals of the brand, the Looney Tunes have laid dormant. Lewis says there has been a lot going on with the Looney Tunes recently, however, from the Bugs Bunny Symphony via ice-skating shows to theatre performances, and the cast is becoming a bigger priority every day.

Lewis says a new Looney Tunes television show will debut in Australia next year, and cinema goers are welcoming the return of the Warner Bros short animation film. New shorts have been created and were screened at Village Cinemas across Australia before recent family films Cats and Dogs 2 and Legend of the Guardians: the Owls of Ga’Hoole, in a move that sets up a total Warner Bros film experience.

Looney Tunes has also generated a strong connection with food products, and not just cereal. It’s an area of licensing Warner Bros spends a lot of its energy getting right, Lewis says, and it makes sure the products it endorses, that are targeted at children, are nutritional.

This good health marketing has been a massive part of Looney Tunes licensing recently. Warner Bros has even devised a new brand called Looney Tunes Active. A press release calls the characters “ambassadors of an active lifestyle for children”. Luckily for Warner Bros, being an ambassador for healthy living in today’s fast-food-is-evil climate involves scoring great vibes from consumers and making a whole lot of money. It has been a shrewd marketing move by the company, and has led to the brand being featured in thousands of North American Safeway stores as part of the ‘Eating Right Kids’ program, as well as Looney Tunes characters splashed across myriad non-junk food products.

Even though there are a bundle of different characters, grouping all of the Looney Tunes in the one context still works. But add in Batman, Green Lantern and Harry Potter (even if he was a cartoon) to that collection, and it’s just a bit jarring. A recent television commercial for Intel featured just about every family Disney character, and it felt fine. Warner Bros lacks this cohesion in general, but Looney Tunes seems the one thing that keeps the whole company together as a marketable package.

The great contradiction to this, of course, is Warner Bros’ biggest licence in Australia: the Village Roadshow-owned Warner Bros Movie World on the Gold Coast. Apart from Parque Warner in Spain, Australia’s Movie World is the only tangible representation of Warner Bros as a complete brand. In some sort of movie Utopia, giant Tweety Birds waddle about one side of the glistening streets, while Batman tackles a bank robber across the other side. If Warner Bros ever wanted to become a singular superbrand, it could learn a lot from Village Roadshow’s execution with the parl. Seeing the joy people get out of watching others in costume might be a good place to start as well.


Let’s play dress-ups

In my interviews, almost anyone at Warner Bros who mentions Green Lantern also mentions the superhero costume dress-up day in Melbourne. Warner Bros organised the event at Federation Square. The concept: dress up as your favourite superhero. Lewis says it set a new Guinness World Record for “most superheroes in the one place”.

“I was on that stage at Federation Square, and was looking out at this audience,” Lewis says, “and there were kids in prams, little kids, five-year-olds, mum and dad, older brother and sister, university students, grandma and grandpa, all dressed up as superheroes.”

A lot of the costumes probably came from Rubie’s, the long-held official licensee for Warner Bros costuming.

Rubie’s has a global deal with Warner Bros to produce just about every character that can be cut into cloth: Batman, Superman, Flintstones, Scooby Doo, Looney Tunes, the lot.

When you think of a Tweety Bird costume, you may picture cute little kids flapping about and tripping over, but Rubie’s sales and marketing director Tony Bugg says this just isn’t the case anymore.

“Costumes are not just for children,” Bugg says. “It’s even bigger for adults. Because the comics and movies have been around for years and years, and adults are liking dressing up more and more, the adult market is a big deal for us.”

Bugg estimates that Rubie’s sells 60 percent of stock to adults, and that Batman and Superman are the most popular pieces, in both adult and child markets.

“It’s a timeless brand; you can never get too many costumes. They wear them, wash them, wear them out, buy more.”

Personally, I can’t really imagine wearing a fantasy costume so often that it actually becomes threadbare, but what people do in the privacy of their own homes isn’t my business. Only, it isn’t in the home. It’s on the streets, it’s at parties, and the costume consumers are proud to be living fantasy lives as film characters.

I chase down some photos of the event and they seem to tell the story of Warner Bros’ success. The majority of punters were dressed up as Superman, Batman or Wonder Woman, but clearly few of them cared that they were Warner Bros’ characters. The fact that Warner Bros didn’t market the event as ‘dress up as your favourite Warner Bros’ character shows both confidence that most people would turn up in WB-related garb anyway, and recognition that the Warner Bros brand is sprawling and many people don’t have a concept of it as a whole.


Green Lantern and the great American dream

My interview with Preston Kevin Lewis is fun. He is an electric personality; he bounces around the room and shows genuine excitement for his job. Steve Totzke really loves toys too, and Tony Bugg loves dressing up. They all love Warner Bros in their own way – Totzke and Bugg love the superheroes and Lewis clearly has a soft spot for Looney Tunes. But have I really got a handle on what Warner Bros is as a complete brand? Is a brand always the sum of its parts by default?

If this is the case, Warner Bros would be the grandest of all brands. An absolute fantasy land of diverse creativity and freedom. But it’s not. Warner Bros is a brilliant collection of brands, and it’s brilliant at making money.

The words ‘Warner Bros’ don’t send everyone into an idyllic, fantastical daydream. As a brand, it will never have that same childhood attachment of absolute adoration that Disney has conjured so perfectly. But, as a business, Warner Bros is almost perfect. From its marketing departments at least, it’s closed off, no secrets are going to get out. It’s committed to playing it safe, and it has been around long enough to know the best ways to achieve continued success. But that conservativeness might just come at the cost of attaining what could be a truly wondrous, creative culture across the whole brand.

As I have got to know Warner Bros more and more, I feel its story colliding with that very non-toyetic title The Great Gatsby, a film Warner Bros would probably never make. With each forced reference to Green Lantern, each time I was told I couldn’t speak to a representative from the US (other huge brands can get clearance in days), each time I am asked to supply all of my questions prior to interview, the colossal significance of that green light of what I thought was Warner Bros, has slowly vanished forever. My count of enchanted objects has diminished by one. But the ghost of Jack Warner lives on, and ensures Warner Bros stays on track and on top.

Warner Bros is the American dream completely realised, with all the highs and drawbacks. Warner Bros has got to where it wanted to be. It has achieved what it set out to, and its brands and characters have connected with billions of people. But as one brand, could it be even better?

Is this a good time to be a marketing contractor?

As a specialist recruiter, I have been overwhelmed by the recent upsurge in senior marcomms talent returning to the job market. Whether this is due to restructures, or layoffs, the truth of the matter is that with this wealth of experience and knowledge now accessible, the market will inevitably change yet again.

The importance for businesses to operate leanly whilst still maintaining a strong market presence is vital for many of them to survive. With cost cuts being the hot topic, digital marketing is now the sexy newcomer to the scene.

Businesses are actively seeking experienced strategic marketing contractors to work alongside their sales/service/product managers, to effectively identify and promote their business to their target audiences. Those with digital experience will definitely have the upper hand, as clients now seek to reduce costs.

If you have considered a lifestyle change, and are interested in contracting, this may be a fantastic time to diversify while drawing on your wealth of experience and expertise.

I am confident that many SMEs will be looking to engage experienced marcomms talent, to assist them with greater market coverage and brand identification with their customers/clients.

Many of you may find that this economic downturn provides a wider opportunity to engage several contracts at a time, and not only add to your industry experience, but also variety and new challenges!

The question to ask yourself… is what specialist skills do you bring to the negotiations table?

Victoria Pickard is Aquent Brisbane’s marketing and communications agent and can be contacted via

Robot meets vodka

Robot Meets Alien, launched in August last year, has opened a satellite
office in Los Angeles on the back of winning Southern California
Spirits (SCS) for brand strategy and word of mouth marketing. SCS are
launching a suite of boutique spirits starting with premium energy
infused vodka brand Abstract Standard.

Director of RMA, Barney Glover: “Having worked with a number of energy
drink and alcohol brands in the States over the years we were able to
bring some good on the ground experience to Southern California
Spirits. We’re excited to work in an entirely new and fast growing
category in spirits and excited to be in the US. Our brand expertise in
this area and our passion for delivering effective word of mouth
campaigns makes this a great fit.”

Well, clearly the freaky name is working for you guys.