dinnickhowellslikes - Tumblr blog

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I always loved these Levis Sta-Prest ads from way back in 1999, with Flat Eric grooving to that Mr Oizo track.

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Lovely 3D renders of a Junghans Watch from Johnny Wall

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Four Corner Books- Face in the Crowd

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No these are not old packages from 1979, they were designed in 2024 by Wedge for the Matheson Food Company, led by chef, actor (The Bear) Matty Matheson.

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Loving Illustrator Curt Merlo's GUNK comic covers

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Just love the simplicity of (some) UK packaging from the 1970s... This reminds me of visiting my grandma in Barrie, Wales.

Thanks for Mike Ashworth, and his incredible Flickr channel that is a wealth of everything I love.

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Liking the logo for the creative team (Ryan O’Rourke, Alberto Ponte, and Dan Sheniak) who have left Wieden & Kennedy to start their own new ad agency Article in Fast Company

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Lovely typographic craftsmanship (as always) from Stranger & Stranger. And they are single handedly keeping letterpress and foil stamping alive! Well not just them, but look at that...

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Incredible to believe, but the absolutely wonderful, landmark, Bouncy Ball ad that was the launch campaign for Sony Bravia TVs, is about to have it's 20th Anniversary in 2025. Inspired by the positioning "Color Like No Other", Falon proposed unleashing thousands, upon thousands of colorful rubber balls into a steep San Francisco street, and Sony, to its credit, said "let's do it" The ad was ahead of its time. It was an artful stunt, that was so perfectly aligned with marketing strategy, but also with the spirit of entering a new millennium. You can watch the ad here in HD, and enjoy the lovely José González song Heartbeats.

The Drum, has a good summary of the making of here, which reads: A lot of thought went into making ‘Balls’, the 2005 Fallon ad that launched Sony’s LCD TV brand, Bravia – even if the script likely didn’t extend much beyond ‘bounce a million colorful balls down a San Francisco hill’. For starters, where do you even get a million balls?

The agency tried to order them from China, but that would take months. In the end, they made do with just 250,000 after phoning every funfair dealer in the US and emptying the shelves of toy shops. Still though, the crew – led by director Nicolai Fugslig – was determined not to rely on computer trickery to fill in any gaps. They insisted on shooting every single frame live on camera.

This involved three days of a 23-person camera crew (in body armor) hiding behind barricades and riot shields as 12 cannons (on which much of the budget was spent) discharged volley after volley of rubber balls down a steep hill toward them. It all sounds a far cry from the ad's graceful, slow-motion end product, aided by its day-dreamy soundtrack.

All drains on the hill had been taped up before shooting; between takes, a team of 50 students on roller skates swept balls from the bottom, distributing them to local children who had come to watch.

In the end, there was so much great footage that, for its first airing, Sony bought an entire ad break on Sky Sports 1, immediately before a Manchester United v Chelsea kick-off. That first two-and-a-half-minute version featured the José González song in its entirety. Digital hoardings around the pitch’s perimeter featured bouncing balls throughout the match, before the 60-second version we all know and love was shown during the halftime ad break.

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Another experiment with AI generated visuals, and a lot of post-production, trying to emulate 1950s B-movie posters of modern films. Gotta try Star Wars!

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A collage test, and also testing the crazy Photoshop Blur Gallery > Field blur. Then a dotty halftone effect added afterwards using Meisenpress Halftone Processing Kit from GARM