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“Harley Davidson Motorcycles. Handpicked By The Establishment.”

Advertising Agency: McCann-Erickson, UK Creative Director: Vince McSweeney Art Director: Shaun Loynds Copywriter: Vineet Raheja Photographer: Martin Brent Post production: Martin Brent

“The new 8-speed automatic transmission comes standard with the 1, 3 and 5 series.”

Advertising Agency: JWT, Netherlands Creative Directors: Massimo van der Plas, Joep de kort Art Director: Joep de Kort Copywriter: Massimo van der Plas Photographer: Simon Warmer Postproduction: Magic Group

“Incredibly powerful, surprisingly quiet.”

Advertising Agency: Publicis, Johannesburg, South Africa Creative Director: Matthew Barnes Art Director: Martin Schlumpf Copywriter: Ryan Whitelaw Photographer: Paul Shiakallis Retoucher – Remmert Steyn

Advertising Agency: Kerozen, Rennes, France Digital creative: Jean-Charles Debroize Photographer: Raphaël Auvray

MDC Partners' CP&B and Publicis Groupe's Saatchi & Saatchi, New York, this week let go just under 5% of its staff, while WPP Group's Ogilvy earlier in the month laid off 60 people out of its overall staff of 2,000. What does this mean for the industry?

“This is the decade of sports. Let’s make Brazil the nation of our dreams.”

Advertising Agency: DCS, Brazil Creatives: Mauricio Oliveira, Eduardo Boldrini, Diego Wortmann, Samir Arrage Creative Directors: Roberto Callage, Grace Meurer Production Company: Paranoid/Brazil Director: Carlos Manga Jr. Producer: Ana Paula Luce Account Executive.: Leticia Peroni, Camila Roveda Planning: Gustavo Zilles Media buyer: Vera Peres Client Executives: Pedro Bartelle, Márcio Callage, Ana Hochscheidt, Larissa Pedroso, Débora Gentil Photography: Lito Mendes da Rocha Editor: Alex Lacerda Post: Tribbo Post Sound: A9

Resist the urge to salute as you admire jcpenney's spanking new logo, a lovely red square with a superimposed blue square that's intended to evoke JCP's proud American heritage and commitment to treat customers "fair and square." (Ha! It's a pun, get it?) In a statement, the company adds: "The new jcpenney logo, which combines the elements that have made jcpenney an enduring American brand, by evoking the nation's flag and jcpenney's commitment to treating customers Fair and Square. The square frame imagery will be evident throughout all of jcpenney's marketing, to remind customers to frame the things they love." I think it's a good change from one of the worst logos of 2011. The last logo (at left) was designed by graphic design student Luke Langhus from the University of Cincinnati. His entry, while it may have been the best of the 200 submissions, was just plain bland. The new version is simple, modern, iconic, and harkens back to that old ugly red square they hauled around for a few decades that we all still remember. The logo change is accompanied by a new ad campaign from Mother New York, launching Feb. 1, which includes the teaser spot below and a "No Meter" that frustrated shoppers can scream into on the Facebook page. Now, JCP, you can turn your attention to selling better clothes.

Advertising Agency: BBH, USA Creative Director: Marc Hatfield Strategic Business Lead: Nick Stringer Copywriter: Ed Cole Art Director: Lewis Mooney Team Director: Luke Algar TV Producer: Matthew Towell Production Manager: Luke Tilbury, Sam Clark Hall Casting Director: Sue Pocklington Offline Edit: Cut and Run Producer: Kirsty Oldfiled Editor: Chris Mckay Post Production: The Mill Producer: Colin Oaten Production Co: Independent Films Director: Graham Sherrington Producer: Tom Whitehead Executive Producer: Jani Guest DOP: Luke Cardiff Marketing Director: Sally Abbott Senior Brand Manager: Hannah Blackburn

“Let’s get behind Scotland We’re offering our current account customers a chance to win once-in-a-lifetime rugby rewards. Find out more at rbs.co.uk/scottishrugbyclub. Terms and conditions apply. Love Rugby. Join the Club.”

Advertising Agency: M&C Saatchi, London, UK Art Directors: James Miller, Andrew Long Photographer: Morgan Silk Production Company: Locate Productions Stylist: Lisa Dredge Photographers Agent: Vue Represents

FirstBank's regional Super Bowl debut (the ad will air only in Colorado) via agency TDA in Boulder, touting superior service, features a banker type who sits in a comfy chair and says, "If you’re a FirstBank customer worried about missing one of the exciting commercials, or the game, now would be a great time to go to the bathroom." He takes a long pause before adding, "Seriously." The commercial is, as we've been known to say in Boston (home, more or less, of the soon-to-be NFL champion New England Patriots), a wicked pissah. That's a good thing—usually. I guess folks in the other 49 states will have to make their own decisions about when to take a bathroom break. For me, Go Daddy's ads present the perfect opportunity. They're always piss poor, and even the company name suggests making a dash to the can.

Coca-Cola rolled out the details of its Super Bowl advertising on Thursday, and compared to what else we've seen, it looks pretty good. At first blush, the campaign, by Wieden + Kennedy in Portland, Ore., is just another take on the brand's classic arctic mascots—the polar bears. But the whole concept is built out around tying into the game itself, in real time—aiming to enhance the overall experience by adding a little topical extra entertainment value. The TV work focuses on two polar bears, chilling out on their "Snowfa" and watching the game, rooting for opposite teams. Each sports a colored scarf that denotes its wearer's allegiance—red and white for the Giants, blue and white for the Patriots. A 30-second ad in the first quarter will introduce them. One of two different versions of a 60-second ad will air during the second quarter—which, exactly, will be a game-time call based on how the drama between the two teams is unfolding.      The idea extends nicely across digital and mobile mediums with a second-screen social campaign: A live stream housed on CokePolarBowl.com and in rich-media banners on sites like ESPN.com will feature animated versions of the bears reacting to the game and the commercials as they play out. (The bears will be controlled by a pair of W+K creatives.) Coke's Twitter account and Facebook page, meanwhile, will be churning out notes to fans in the voices of characters designed to represent the bears, and clips extracted from the live stream. For technical reasons, the brand's marketing team—which also includes 360i and Framestore—won't extend the livestream to tablets and smartphone executions, which will stay focused on the social elements. Sure, most viewers won't be glued to their laptops during the game. But the brand is hoping fans will check in for a minute or two here and there—and promising enough Easter eggs to make it worthwhile.

“Be the lover.”

Advertising agency: Z+, Brazil, Sao Paulo Executive Creative Director: Alan Strozenberg Creative Director: Leonardo Macias Copywriter: Americo Vizer Art Director: Luigi Alliegro Photographer: Marco Mendes Illustrator: Boreal Art Buyer: Alice Imamura Account Supervisor: Marilia Martins Advertiser’s Supervisor: Daniel Marun Account Manager: Olivia Pereira Planner: Rodrigo Cerveira

Advertising Agency: AKQA, New York, USA Executive Creative Director: Pierre Lipton Creative Director: Stephen Clements Senior Copywriter: Miranda Maney Art Director: Warren Frost Senior Designer: Vicente Montelongo Executive Producer: Nancy Cardillo Program Manager: Monica Stephen Group Account Director: James Jenkins Management Supervisor: Julia Jahn Account Supervisor: Clayton Lee Account Executive: Luke Welch

This direct mail piece, created by Kastner & Partners for their client Mariner Boating Holidays, demonstrates how easy it is to go sailing. As the card is opened, the reader ties a perfect knot.

Advertising Agency: Kastner & Partners, Sydney, Australia Creative Director / Copywriter: Ben O’Brien Art Director: Daniel Foster

“Biothymus F Anti Hair Loss Scalp Serum.”

Advertising Agency: nudeJEH, Bangkok, Thailand Exclusive Creative Director: Jureeporn Thaidumrong Creative Director: Adam Siriraka Art Directors: Matthana Saetiaw, Pattanaporn Kateratorn, Natthapong Sriprasard Copywriter: Thanapol Jiratadaporn

After a long hiatus @Typographica is back with their annual review of the year in type.

URL: http://www.onehourpersecond.com

Brief: Since our client ADNIP is an integral part of Abu Dhabi, we were asked to create a calendar that showcases the stunning growth of ‘the richest city in the world’ as Fortune magazine put it.

Solution: A calendar printed on transparent sheets that shows a ‘progression’ of how Abu Dhabi was built – from a fishing hamlet to a bustling city. The growth is tracked with each passing month and, by the end, the complete city is ‘built’ on the pages of the calendar.

Advertising Agency: Liwa Advertising, Dubai, UAE Creative Directors: Suhas Rege, Vijay Kumar Art Director: Brubex Castelino Copywriter: Vijay Kumar Additional credits: Sagar Rege, Navkriti Shrikhande, Rahul Jhangira

This direct mail piece, created by Kastner & Partners for their client Mariner Boating Holidays, demonstrates how easy it is to go sailing. As the card is opened, the reader ties a perfect knot.

Advertising Agency: Kastner & Partners, Sydney, Australia Creative Director / Copywriter: Ben O’Brien Art Director: Daniel Foster