"Over the past six years, the world has become familiar with a little
blue bird. The bird is everywhere, constantly associated with Twitter the
service, and Twitter the company. Starting today you’ll begin to notice a simplified Twitter bird. From
now on, this bird will be the universally recognizable symbol of Twitter.
(Twitter is the bird, the bird is Twitter.) There’s no longer a need for text,
bubbled typefaces, or a lowercase “t” to represent Twitter."
This is what Twitter's Creative Director Doug Bowman had to say, three days ago, about the decision of changing the company's logo.
In the new version, the little bird mantains its colour and shape, but with a few changes: he's looking more towards the sky as if taking flight, and he lost some of his feathers, especially on top of his head. The new logo was designed from three sets of overlapping circles, representing the way our "...networks, interests and ideas connect and intersect with peers and friends".
Bowman doesn't really explain the reason behind the sudden change. It's not like Twitter is losing popularity. If something, it's gaining more and more each day; there weren't any changes within the company, regarding new acquisitions, new management, new name and the logo concept was kept the same: the bird it's still a bird.
This is, therefore, a change that will have little or no effect on people. Like Bowman said, it was just a way to simplify things and "burden" only the bird (forgetting the "T", etc) with Twitter, the service, and Twitter, the company.
I've seen lots of advertisement campaigns talking about how fast cars are that look all the same: there's some kind of mountain or hill, surrounded by a beautiful scenery, with the car in the middle, as if driving past at full speed, accompanied by some kind of slogan allusive to said espectacular speed. What else can they do, right? Well, if they would be Renault, they would do it quite differently.
If you haven't already seen online some kind of art with dead flies (it sounds desgusting, but it's really cool), go look for it. It's incredibily funny and it takes a lot of creativity to put the flies playing football, for example, or going for a swim.
As you well know, bugs get stuck in the grill of the car and on windshields when one drives very fast. We don't care about it or the poor bugs, but this campaign shows their side of the story. By showing how badly wounded the poor flies get from the "0 to 62 mph in 10 seconds" of the new Renault Megane, the ads convey the message that the car is, indeed, so fast that the poor flies will need medical treatment afterwards.
I really like these ads, because they get away from the usual mountain + landscape + fast car scenario. They get the message "our car is really fast" through without getting the car in the center of the add and being incredibily obvious. And, on top of that, they're quite funny.
I love the touch of the visitor flies. They even take their friend a bouquet!
Everyone knows, just by looking at the title, what I'm talking about. The story of the "KEEP CALM AND CARRY ON" sign starts in 1939, when England joined the allies in the fight against Germany in World War II. To reassure the population, the newly created Ministry of Information created motivational ads that should follow a uniform design pattern, in a sophisticated and elegant font, with the image of George VI's crown on top.
The slogan only got famous, however, in 2000 - 61 years after its creation - when the owner of Barter Books, a bookshop in Northumberland, found one of the original ads and framed it. The discovery ended up inspiring an add campaign that got the attention of the new generation, who fueled it by sharing it in social network sites and putting their own twist to it.
Nowadays, the famous slogan transcends its own original purpose and it's sold in mugs, towels, key rings, paintings and t-shirts. There is even a short film about it, directed by Temujin Doran , that has already been seen by more than a million people on YouTube. Therefore, it's not that hard to understand why Rover picked this approach for their Land Rover Defender campaign for South Africa.
Refering to casualties that I can imagine occuring quite frequently in the South African savana, this campaign brings back one more time the famous concept but, instead of keeping the "KEEP CALM..." part, as it's usually done, Rover opted to go with the "...CARRY ON" approach - which makes sense giving they're advertising for a car/truck that it's supposed to survive everything: poisonous darts, snake bites and language barriers.
They have, similarly to the original, a very simple and uniform design: all the ads have the new Defender on top, followed by the slogan and the Land Rover logo, all over a slightly rough blue background; they go straight to the point: Defender will, indeed, defend you from all this and you'll manage to "carry on" your journey.
It really is a good, clear campaign - and I'm not just saying that because I used the same concept for the Creative Writing assignment. Because of the assignment I am saying that this is a concept that has been used quite often: on one hand, it can be good, since it's already viral, which means people will like it and adhere to it and the campaign will have full effectiveness; on the other hand, this is such a well known design and slogan that it may come out as non-creative, as a copy of what as been done a hundred times before, which would have the exact opposite effect: people would just dismiss it as one more "KEEP CALM..." add.
I quite like it, though. I'm not planning on buying a car that would help me go through the African savanas but, if I was basing my decision in advertisement campaigns only, the Defender would win that race.
Printed advertisement is a personal favourite of mine. I actually collect my favourite ones and study them carefully. But what Budweiser did this May, in a unique parternship with Will.I.Am, was beyond my wildest thoughts.
"Budweiser really is in sync with what we are living at the moment in Brazil. The communication of the brand speaks of optimism and celebration, and the whole country experiences that with all the good that is coming: Olympic Games, World Cup and big events. The song and video of Wiil.I.Am gave life to the brand's positive speech, and we managed to unite two powers with this parternship: the most famous beer in the world and one of the main names of the music industry", explains Manuel Rangel, Brazil's Marketing Manager for Budweiser.
The most valiable brand of beer in the world invited the famous singer/producer to be its embassador in Brazil, perfectly aware of the love of the latter by the tropical country and of his approach to living, very similar to what of Budweiser: "Good Times Are Coming". Besides, since its launch in Brazil, the brand has been always linked with music, sponsoring music festivals and events all over the country.
So their idea or, more accurately, the idea of the Africa agency, which is in charge of all the brand's campaigns, was to record Will.I.Am new song - "Great Times" - into vinyl. But not just a simple vinyl record. No, actually they recorded it into vinyl paper and inserted the ads in the inner sections of the magazines. One could just detach it from the pages and play it in a record player. Simultaneously, the YouTube teaser (which you can see above) was released, getting people's attention.
I applaud the creativity. I think printed ads are getting more and more innovative. But I'm not quite sure of the effectiveness of this particular one.
We are, for a few years now, the mp3 generation. Smaller songs to fit in our 4, 8, 16 ou 130 gb Ipods; we get our songs via Internet (euphemism, I know...) and we only buy CD's when we really like the singer/band. And, most of all, we are Budweiser target group: 18-34 year old consumers. So, I wonder: what's the point of creating a vinyl printed add when we can't 'play' with it?
One can argue that you can always enjoy the printed campaign and then download the song from wherever on the Internet. Again, I ask: what's the point of the printed campaign if, in the end, the target group ends up where it always is: online? On the other hand, in the past couple of years, the cult of the vintage is getting stronger, mainly powered by the fashion industry. Therefore, the probabilities of the individuals of the target group having a record player are a bit higher. But I don't think they would be high enough for this to be a really successful campaign.
Still, this is, like Manuel Rangel said, "the most famous beer in the world", and it's associated with "one of the main names of the music industry". So, regardless of people being able to actually manage to play the record, the campaign will always have some kind of impact.
And that's the whole point of advertising, isn't it? It doesn't matter if people talk good or bad about it, as long as they talk about it.
HEMA (an acronym for Hollandsche Eenheidsprijzen Maatschappij Amsterdam, "Dutch Standard Prices Company Amsterdam") is a Dutch dimestore chain, characterized by relative low prizes of generic housewares, which are mostly made by and for the chain itself, often combined with original design.
That we all love dimestores there's no denying, especially if you are an Erasmus student on a budget and in need of a toaster. And if you are a girl, when it comes to clothing - which HEMA also sells -, you like low prices and good quality. Or, at the very least, you want to pay a fair amount of money for something that will enhance your assets, so to say. Well, HEMA might not have the best quality when it comes to their products, but they do know how to advertise them.
Many women have problems with finding the perfect bra for the perfect ocasion, with the perfect shirt/dress/sweater/etc, particularly when extra support is needed. Therefore, HEMA, in December of last year, offered to their female clients a range of push-up bras that would - so they said -, give you two extra cup sizes.
If you look at the ads, you don't see anything different from the usual blond girl in a tight shirt smiling at you with a dark background and a souple of text indicating prices and the brand. But this add has a twist.
Do you know who Andrej Pejic is? I must admit, I had to go check. Those of you who like fashion might know him. Yes, it's not a typo. The 'girl' you see in the poster above is, actually, a20 year old man.
I was completely astonished by this provocative and yet quite simple angle that HEMA persued for this push-up bra campaign. Their slogan, "A push-up bra that gives you 2 cupsizes extra. Modeled by Andrej Pejic. A man. Imagine what it can do for a woman", is the only thing that gives away Andrej sex (if you don't know who he is, of course); it's a funny and bold way to present a rather normal product - that we, women, buy regularly - , and deliever the message to the target group effectively: if it can give a cleavage like that to a man, it will do wonders to women! HEMA hit the jackpot with these ads, that actually caused quite a buzz, being mentioned in all kinds of media all over the world:
"The controversial campaign has set tonges wagging on social networking sites, with the topic trending on Twotter just hours after the adverts were released.
One user tweeted: "That HEMA campaign is brilliant: Andrej Pejic sporting a push-upbra?! If a man looks good in that bra, it must be good stuff."
Another added: "Andrej Pejic is the prettiest man woman known to man." (Mirror.co.uk)
(abc NEWS)
In my opinion, this is not only a brilliant campaign. I think it focus, although indirectly, in the matters of gender and all the issues associated with it, These advertisements broke with all the conventions about gender roles and not only to what concerns the fashion world.
How many of you listens to the radio? And how many of you dislike imensely when the ads come on, sometimes cutting the songs in half? Well, what if the ads were for donuts? And what if, with the ad, you could smell freshly baked donuts and hot coffee?
Smell branding is the new bet of the South Korean franchising of Dunkin Donuts. Everytime Dunkin Donuts' jingle plays on the radio, sound recognition technology enables the spraying of coffee and donuts. The best thing is this technology was placed in public buses: the aroma reinforced the sensory connection with the brand and therefore boosted in-store traffic in South Korea. According to PSFK, "...over than 350.000 people experienced the ad during the campaign, leading to a number of visitiors to the Dunkin' Donuts stores increasing by 16% and sales going up 29%".
So, it obviously works. But why? I think it's because it hit three senses at the same time: smell, hearing and vision. Plus, coffee is already and addictive drink, so how could anyone resist?
How much is a Coke worth to you? 50 cents? 1 euro? 2 euros? No? Well then, what about a hug? And no, this campaign has nothing to do with the 'likes' and virtual hugs that we can give just with a click of the mouse button. To get a Coke from the machine, you'll really have to hug it.
Following their 2009' global marketing campaign "Coke Side of Life", Coca-Cola created, in the same year, the "Open Happiness" campaign - developed by the Wieden + Kennedy creative agency. That campaign had the objective of invinting "...the billions of people around the world who love to pause and refresh themselves with a Coke to "Open Happiness" and continue to enjoy one of life's simple pleasures. That is the central message for "Open Happiness". And, the way I see it, they couldn't have took that premise more literaly. Isn't hugging one of life simplest pleasures?
"Open Happiness" is still in vigor today, and this new "Hug Me" marketing stunt is the new piece of the puzzle: a Coke vending machine was installed overnight at the National University of Singapore. It looks like a fairly ordinary machine, in the brand’s iconic and forever recognizable red and white. But instead of it’s logo, this machine says “Hug Me”, in the logo font. And instead of money, this machine responds only to the currency of hugs. Specifically, you have to squeeze the sides of the soda dispenser in a specific way to make a free Coke come out.
In a statement as part of the company’s "Open Happiness" campaign, Leonardo O’Grady, ASEAN IMC Director, The Coca Cola Company, explained that: “Happiness is contagious. The Coca Cola Hug Machine is a simple idea to spread some happiness. Our strategy is to deliver doses of happiness in an unexpected, innovative way to engage not only the people present, but the audience at large.”
In other words, they hope it goes viral throughout Asia, leading to outbreaks of random hugging, all with the Coca-Cola brand in mind. Since in Singapore the display of affection is not well regarded but is growing amongst the younger layers of the population, Coca-Cola positions itself like a supporter of the 'affectioned' youth.
This simple but well thought of marketing campaign was created by Ogilvy & Mather.
Before we all had cellphones, how did we sent messagens to each other, especially when we were in class? Does any of you recall using little pieces of paper you methodically threw to the destined recipient? I do. I myself preffered writing on rubbers - it was more discreet -, but when the message was to big I had to do it the traditional way. But then came cellphones and free text messages, and we forgot all about the little pieces of paper. Well, Moleskine didn't.
The legendary notebook, used by geniouses like Picasso or Hemingway, is still a symbol of creativity, geniality and talent. The company, due to the 20th anniversary of SMS (Short Messaging Service), decided to put a playful spin in our childhoot passtime by creating their own version of SMS: The Moleskine Shooting Message System.
At sale only at three places - the main one being in Milan as a worldwide exclusive for Milan Design Week -, and created by Pietro Corraini, this celebratory pack features a classic Moleskine notebook with a graduated cover that indicates how far you can shoot, using the notebook elastic band as a sligshot; it also contais a few preset, short messages like 'I Love You' or 'Call me'
This great marketing action not only brings back the old days where our lives weren't rulled by technology, but is also a fantastic way to publicize the famous notebook and keep people interested in buying it instead of another, cheaper brand - in order to prevent what has already happened for a decade in the 80's: its discontinuation.
Domino's Pizza, a well known pizza place across the world, saw their business change with the advent of technologies: most of their orders were placed and paid for online instead of the usual going-to-the-store-buying-a-pizza-and-leave act.
Always trying to get closer to their costumers through innovative marketing campaigns, Domino's came up with the idea of letting the costumers order pizzas via a billboard. The billboards are placed in more than 6.000 sites across Britain. As long as the costumer has a smartphone, he or she can download deals and the ordering app, and became a fan of Domino's page on Facebook - all in one click. This shortens the gap between the company and the costumers, providing the first with a opportunity to communicate much more than pizza deals. Domino's shows us how outdoor advertising is reaching new levels, not only and static but, as we are about to see, in mobile media - which is mostly due to the massfication of the use of the Internet.
This billboard marketing stunt, which was launched in January, probably led them to think that if the ordering of a pizza has something special about it, perhaps the delivery of the goods should be special as well. Therefore, a couple of days ago, on the 18th, Domino's lauched in the Netherlands the Safe Sound campaign.
This campaign has integrated human-made noises in the delivering scooters, that not only alert the pedestrians and bikers to the coming of a motorized vehicle - making the roads more safe (hence the name Safe Sound) -, but also draws a great amount of attention by broadcasting certain words like 'Domino's' or 'Pizza' in between the 'vruuuums'.
Give a look at the video below to see the first reactions to the well thought of campaign.
Andrew Miller, strategic agent of change at Carbone Smolan Agency (a Design and Branding Agency) threw himself into a particular challenge: for 100 days, he will paint white common products that he has around the house or that cost less than 10 dollars, take pictures of them, and upload them to the Tumblr entitled Brand Spirit. Miller’s challenge consists in “(…) removing all visual branding, reducing the object to its purest form” and, therefore, discover if a brand speaks louder than words.
So let’s check the picture below:
Within, at maximum, a few seconds, you can identify that that’s Tabasco. Why is that? Is it because we use it every day? When was the last time you used Tabasco? It's just funny to have this reserve of knowledge about brands and shapes and have the ability to immediately draw from that useless knowledge tank.
And this one?
My first thought was ‘french fries’. Why? How could I not know how a Heinz ketchup packet looks like, especially with the growing of fast-food chains? This project, still in its beginning (today is day 14/100), can already make us think about the power of certain brands. I say ‘certain brands’ because it’s obvious – except maybe if you have a very keen eye or a true passion about advertisement or shopping – that you won’t guess them all. I tried and got 9 out of 14. Nonetheless, I get the feeling that in spite of being painted white, some brands will be immediately indentified, which only speaks of their rock solid identity in terms of packaging.
However, and we can see it clearly in the case of the picture of the condom, that in that case it’s quite hard to have a packaging that differs from the competitors’ and it’s still identifiable. My first thought on that one was Durex or Control, not Trojan. I’m guessing that’s because I’m Portuguese and Andrew Miller is American: the brand that sells the most in both countries are Durex (or Control) and Trojan, respectively. So, geography is a very important variable here.
And so is demography. In the case of the Kleenexes, for example:
I know the brand and it’s sold in some selected stores in Portugal, but I never bought it because the house brand from my supermarket of choice has the same characteristics, offers the same results and it’s cheaper. Resuming: I could identify the brand by its packaging – so it speaks to me in a way -, but I don’t acquire it often because of my family income. Besides, I have established a loyal relationship with the house brand I referred to, so I tend to overlook other brands, especially if they’re more expensive. But perhaps if it was not a Kleenex but a Renova package, it would be best perceived by Portuguese people.
Andrew Miller, however, started this project (which you can follow at http://brandspirit.tumblr.com/) with American packaging’s and it’s directed to the American population, who can better identify the packages. Nevertheless, I think that it’s a project that it would have a positive remark in every country, given that the target was adapted to that particular country – and so were the packages.
As a result I think that, indeed, brand’s identities can be stronger than words.
In the first couple of years of the 1930's, Ole Kirk Christiansen was a dannish carpenter who, like many others, had to fight the Great Depression. Therefore, he began to manufacture wood toys.Those wood toys had a special thing about them: if you were to fit one in the other, you'd create a new thing. The combinations were endless.
In the fifties, the toys got some exposure. Ole called them LEGO, the juction of the first two letters of the dannish expression "leg godt", wich meant "play well". They began to be produced in plastic. The Lego Group's motto was - since the late Billun Woodworking and Carpenter's Shop (Olek first company name) - and still is "det bedste er ikke for godt", meaning roughly "the best is never too good". Ole Kirk created this motto to encourage his employees never to skimp on quality, a value in believed in strongly.
Nowadays, and I think I speak for my generation, it's hard to imagine childhood without countless hours spent mouting Legos to build houses, cars, gardens, and even people. The little bricks have evolved in design and material, but their essence is still the same: to provide youngsters and adults a fun time, while being able to be creative.
LEGO is a brand that, over the years, has mantained a rock proof identity which made it very successful: they created an emotional connection with the consumers, who have passed that relationship with the brand to the next generation over and over until the present days - according to Kevin Roberts (Saatchi & Saatchi), we can call it a Lovebrand. And it's because of that relationship that LEGO was able to come up with this campaign, that mixtures pop culture and the product they've been selling for more than 50 years.
They chose a few emblematic characters from cartoons, comics and a very famous TV shows to get people to notice LEGO (even more). I believe the campaign's target is the commited consumers, the ones who opted for LEGO since day one and never looked back; it brings back 'older' (my dad read them!) comics, like Astérix and Obélix and Lucky Luke, and shows like Sesame Street or The Simpsons, which have been running for many years now. It's not a campaign for the grandsons and daughters of those consumers: nowadays, the thrill is all about Noddy and Gormitis, not about the old classics like The Smurfs or Teenage Mutant Ninja Turtles.
We can, therefore, see, how LEGO bets in its commited consumers more than in finding new ones (although the recent colection just for little girls has been a hit in the USA). In this case, it's a efficient marketing strategy, because all of LEGO's status comes from word of mouth through generations. For my part, I shall never forget my first box of LEGOs.
Born in the 60’s in Guiné, Fula is a brand of oil with natural and vegetable components. Regardless of their healthiness, all the range of Fula products, up until two years ago, had the same problem as any other brand of oil, and that was the smell that stayed behind after cooking. So Fula and its Marketing and Innovation team came up with a solution: to create oil that was different from all others and didn’t left behind any smell – or, at least, was more subtle in that aspect.
Researchers discovered a compound of essential oils of aromatic herbs that, incorporated in the traditional Fula formula reduced the nasty smell. Next step? Test the product. For a long time, hundreds of house-wives used that new oil. The results were way above Fula’s expectations and the oil should be soon put on the market.
In that respect, this “smelly” campaign was done. Both in a TV add, printed press and outdoors - showing a great range of media presence -, the objective was to get the attention of the consumers – especially Fula’s main target, house-wives – and directly remind them that they could still love fried food at eat it at will without having to deal with the bad smell. The pictures show three members of a family (daughter, mother and grandfather), and the TV ads had even more family members in it. Appealing to the emotional side, bringing up the consumers’ family values - the family dinners and lunches, the ‘get together’ moments…-, and producing a direct and unambiguous slogan (“For the ones who love fried food but hate the smell”) were effective marketing manoeuvres. And of course, there was a dash of humour to the whole campaign, what certainly helped to its massive success.
Queer Lisboa is the only portuguese national LGTB film festival. Once a year, exhibitions of the most relevant creations in the area are held in various and famous theaters and cinemas around Lisbon, providing the opportunity for the grand public to view them (since the access to these movies it's somewhat restricted. For example, I've never seen a outspoken gay movie and a major theater. I suppose that speaks for the ignorance of my fellow contrymen. But that's a whole other subject).
But the festival is more than just the movies - although all the ones being exhibited are in the run for Best Film, Best Short-Film and Best Documentary. Queer Lisboa is also about seminars with the directors, or lectures about a particular country or theme portraited in one of the movies, or even retrospectives about homosexuality in the history of cinema, amongst many other parallel pedagogical activities.
"There's lots of people that simply won't go to Queer because they think they won't like it or aren't ready to see movies with gay and lesbian characters. Which just sounds like prejudice.", explains the co-author of the campaign made to promote the festival in 2011. So then: what to do to fight that prejudice and to get people outside the LGBT community to come to the festival?
Action, science-fiction or road movies served as an insipiration to the making of several publicity spots. The objective? To let the grand and mostly heterosexual public know that, as their slogan states, they have seen more gay movies than they think. The clips above and below were two of those spots, the first one referring to the famous movie Thelma and Louise. Fuel, the company that produced the spots, therefore managed to specialise the product being sold - in this case not exactly a product, but a event - successfuly. These very short clips leave the viewer thinking if, in all truthfulness, most of the movies he or she has seen have gay characters in it, and that there's only one way to find out: going to Queer Lisbon.
"The so called traditional cinema is full of gay characters. The difference is that the ones exhibited at Queer's already got out og the closet" (by Fuel's creative director).
"We invented the automobile - now we are passionately shaping its future. As a pioneer of automotive engineering, we feel inspired and obliged to continue this proud tradition with groundbreaking technologies and high-quality products. (...)
The principle of sustainable mobility underlies all of our thoughts and actions. Our goal is to successfully meet the demands of future mobility. And in doing so, we intend to create lasting value - for our shareholders, customers and workforce, and for society in general."
Karl Benz and Gottlieb Daimler had a vision that was initially a target of extensive discussions. Nowadays, more than a century later, the pioneer spirit is still palpable and each and every one Mercedes-Benz.
The quote above concerns the Group mission statement, by Daimler's words. In this particular TV add, we can tell all about the "groundbreaking technology" and "the principle of sustainable mobility", two of the bigger concerns of the Group: the possibility to manufacture elite cars, not only in aestethic and gadgets, but also to have in mind the environmental and echological responsabilty.
Mercedez-Benz researchers used an, in my opinion, fabulous marketing strategy to promote the new zero-emissions F-Cell hydrogen-fuelled car. They covered it with LED lights - which by themselves are echological - and made it reflect the landscape around the car (with the aid of a videocamera), making it invisible. Germany's streets were filled with astonishment as the invisible car passed by.
But its invisibility cloak extends to its engineering as well: the new F-Cell is zero-emissions, wich means that there's no danger for the environment. Both the technologies (the F-Cell and the zero-emissions) were pioneered by Daimler - not the founder, but a company within the Group were all the techonlogical breakthroughs are researched.
With this add, Mercedes once again positions itself as top of mind, as the provider of elite products which are not only sophisticated, expensive, long-lasting, inovative and beautiful, but also environmental friendly - a 'must have' characteristic in current day and time.
As we are well aware, in the past years we watched platforms like Facebook, Linkedin or Twitter grow at an increasingly rapid pace. Not only because of the possibility to connect with other people and sharing our day-to-day activities, but also given that those platforms became one of the main sources of information: many newspapers, journals and magazines have a Facebook application or a Twitter account where they share the highlights of their publications, as well as the opportunity to take place in competitions and getting special offers, for example, a discount on the subscriptions of those periodicals - which normaly one has to buy if he or she is interested in reading the complete article. A huge part of today's marketing strategy is focused not only on the billboards and printed adds in magazines, but also on the companies' websites - which is imperative they have - and on social media, for a faster and effective way to reach the publics and, most importantly, the target groups.
So when Tim Burgess, lead singer of The Charlatans, sent a fun and far from serious tweet to Kelloggs - a centenial company, founded in 1906 by W.K.Kellogg, which has expanded from less than fifity employees in Battle Creek, Michigan to a company that manufactures in 18 countries and sells its products in more than 180 countries -, teeling them that upon hearing the expression "totes amazeballs" (describing something awesome), he thought about how that name would be cool for a cereal brand. Within an hour, Kelloggs got in touch with him, and according to the Marketing News, one of the company spokesman assured that they're planning on lauch the new cereal soon, with a personalized packaging.
