Hasta La Ideas

R/GA, Grey (Canada), Google/The Ant Farm, Volontaire [Sweden], and Google Creative Lab took top honours, while Uniqlo was named “Brand Of The Future” at the this week’s Tomorrow Awards, the bi-annual scheme set up by the Art Directors Club to celebrate advertising creativity that utilises new technologies…

The Tomorrow Awards is a global awards and every Spring and Fall a shortlist of submitted entries is created by a public judging process. Then the final five winning campaigns are selected by an elite jury of global creative directors which included Robert Wong of Google Creative Lab and Mark Waites of Mother.

Here are the five winning Fall 2012 campaigns that were unveiled earlier this week at an award ceremony in Sao Paulo, Brazil…

The World’s Most Valuable Social Network was devised by Grey Canada for The Missing Children Society (MCSC), the only organisation in Canada committed to the search and rescue of missing kids. Social media account holders were encouraged to “donate” their social network(s) to the MCSC, allowing alert messages from authorities to be sent directly through to their newsfeed whenever a child goes missing – meaning that everyone in that person’s community will see the missing child notice.

Find out more about the campaign at valuablenetwork.ca.

One Copy Song, was R/GA‘s campaign to help launch Sweden’s biggest hip hop artist Adam Tensta’s single Pass It On. The agency created a Facebook app whereby only one fan could listen to the single at any one time. So, fans signed up to listen on the artist’s FB page. Once in line they could jump the queue by tweeting, watching his videos or listening to other tracks by Tensta on Spotify. Once it was their turn, a fan had one hour to listen to the track (which they could only listen to once) before the opportunity was passed to the next person in line, thus making listening to the track a special, anticipated experience.

Conceived by Chris Milk & Aaron Koblin and produced by Google and Tate, This Exquisite Forest was an online project that allowed users create short animation that build off one another as they explore a specific theme. The result is a collection of branching narratives resampling trees that anyone can contribute to. The project  also includes a physical installation at the Tate Modern in London  where visitors can explore the project as a huge projection and contribute using digital tablets.

If you’ve got Google Chrome, explore the Exquisite Forest at exquisiteforest.com.

An idea by Volontaire agency for clients Visit Sweden and the Swedish Institute, Curators of Sweden was a campaign to promote tourism and interest in Sweden by giving ordinary Swedes the opportunity to tweet from an @Sweden Twitter account, thereby representing their country. For seven days at a time, different Swedish folk shared their everyday life, opinion and thoughts. Check out curatorsofsweden.com for more info and follow the campaign at @sweden.

And the fifth campaign to win a Tomorrow Award this week was for Google’s live demo of Project Glass. Google Glass is essentially a wearable webcam that allow people to “hangout” together by sharing individual point of views live over the internet along with audio feed. But how best to demo it? Google conference attendees got to “hangout” with a bunch of skydivers who quite literally, dropped in to the conference, with each of the five skydiver’s points of view being screened to the delegates until the point where they actually arrive, fresh from the sky, to the conference hall. Here’s the film of the event:

To find out more about the Tomorrow Awards (and how to enter) visit tomorrowawards.com.

CR In print

In our December issue we look at why carpets are the latest medium of choice for designers and illustrators. Plus, Does it matter if design projects are presented using fake images created using LiveSurface and the like? Mark Sinclair looks in to the issue of mocking-up. We have an extract from Craig Ward’s upcoming book Popular Lies About Graphic Design and ask why advertising has been so poor at preserving its past. Illustrators’ agents share their tips for getting seen and we interview maverick director Tony Kaye by means of his unique way with email. In Crit, Guardian economics leader writer Aditya Chakrabortty review’s Kalle Lasn’s Meme Wars and Gordon Comstock pities brands’ long-suffering social media managers. In a new column on art direction, Paul Belford deconstructs a Levi’s ad that was so wrong it was very right, plus, in his brand identity column, Michael Evamy looks at the work of Barcelona-based Mario Eskenazi. And Daniel Benneworth-Gray tackles every freelancer’s dilemma – getting work.

Our Monograph this month, for subscribers only, features the EnsaïmadART project in which Astrid Stavro and Pablo Martin invited designers from around the world to create stickers to go on the packaging of special edition packaging for Majorca’s distinctive pastry, the ensaïmada, with all profits going to a charity on the island (full story here)

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here