Here’s a great example of an esteemed public institution—the New York Public Library—embracing technology to do something unexpected and innovative with its collections, and opening it up so everyone can take part. It’s the opposite of the dusty, fusty, just-for-the-scholarly attitude they *could* have, and all the more refreshing as a result. Rather than punishing the guy who on his own decided to build an entire site allowing consumers to animate 19th-century stereograph photos (the 3D TV of their time), the NYPL turned it into a bragging point that adds lustre to their brand. 

Photo: NYPL stereograph of the St. Louis World’s Fair, 1904

OK. It’s simply part of cultural literacy to know the alter(super)egos of Bruce Banner, Clark Kent and Bruce Wayne. But how about Britt Reid, Matthew Michael Murdock, Donald Blake, Diana Prince and A.C. Curry? Know who they are and you’re edging dangerously close to comic-book nerd-om.

Alter egos are such a key part of superhero-ness that D.C. Comics (who along with Marvel command about 80% of the market), has worked it into their most recent logo redesign. The logo is a cool reveal that is both functional and meaningful to the brand. But perhaps most creatively, it was created from the ground up to be used across media, as today’s brands need the super-strength to go from print to digital to TV to mobile. Check it in the upper left corner and here w/a Batman reveal.

(Wondering which superhero belongs to which alter ego from above? In order you have The Green Hornet, Daredevil (my fave), Thor, Wonder Woman, and Aquaman.)

There are many defining qualities of a brand. At Jack Morton, we often talk about the fact that a brand is not defined by a logo or typeface. Indeed, it takes far more than those elements to become a true experience brand. 

That said, I caught this Mad Men transit ad in the subway of NYC this weekend and thought it was some of the best creative - and uses of brand - I’ve seen in a long, long time. On its surface, this ad certainly does rely on the show’s visual identity to trigger brand recognition, but I would argue that the ad itself (despite how traditional the medium) is a qualified brand experience.

Why? It creates a brand experience for the people who matter most to the brand. In this case, Mad Men is making a play to reach the people who matter most to the show: its evangelists - the past viewers who have been tapping their toes for the excruciating 525 days the show will have been off the air. The creative, which references the shows introductory sequence, treats past viewers and fans as insiders, providing just enough information so that they are able to understand the message, but not enough so that everyone is in on the experience.

This ad is authentically Mad Men. Thematically, it’s appropriate to create a sense of an insiders club… a group of viewers who don’t even need to know what time the show is on and who are just being given a subtle reminder of the show’s return date. It’s inviting me (and other passer-by fans) to engage, by assisting the show to spread the word. Perhaps even translate the ad for a friend you’re with. In the end, this Mad Men work just goes to show that brand experience and be created even in the most traditional and simple media. Kudos to Mad Men. It probably goes without saying, but I’ll be tuned in.

(Source: farm8.staticflickr.com)

I’m not a big fan of outdoor advertising, but this one (spotted at a stop light) called me “traffic buddy” and said something relevant to the fact that I was commuting. Good use of owned media — they have to have delivery vans, why not use them as a brand touchpoint?