CONNECTED PRODUCT WITH NFC AND AR REACTS TO CUSTOMERS’ MOOD


Multi-Color Corporation and Talkin’ Things are the first Internet of Things packaging platform providers to combine Augmented Reality (AR) and NFC technology to create a unique customer experience in connected product that will help boost its sales.


This label demonstrates how advanced smart packaging can be by interacting with the consumer via AR facial recognition and incorporates dynamic scenarios dependent on users’ emotions.


The smart label produced by MCC becomes a trigger, no additional marker has been implemented to launch an AR experience. When the customer scans the smart label with a mobile app, the skull presented on the label engages into interactive dialogue with the consumer. The face recognition feature detects if the customer is happy or sad and customises the next part of the dialogue. Variable AR scenarios are also launched depending on answers provided to questions asked by the skull.


"Thanks to our labelling production capabilities and Talkin’ Things technology combined with creative services, we are able to offer our Clients a brand new solution that will completely transform a product and change the way end-customers interact with it.” -praises Craig Miller, President of NA CPG at Multi-Color.


Additionally, NFC smart label applied to the bottle’s neck provides a proof of purchase solution for 2-stage communication with end-customers. It recognises when the product has been opened to provide different messages to the customers. "With our technology it is also possible to provide completely new experience with AR technology before and after the purchase.” - said Marcin Pilarz, CEO at Talkin’ Things.


Talkin’ Things provided NFC technology, creative concept and artworks for Augmented Reality and software development. The smart labels were produced by Multi-Color. 


More info:


www.talkinthings.com/black/

Alfex CNC customer Mermaid Trophy Centre was the official medal engraver at the Gold Coast 2018 Commonwealth Games!

The athletes Gold, Silver and Bronze medals were engraved with the Vision Max Pro from Vision Engraving & Routing Systems available exclusively through Alfex CNC Australia.

Alfex CNC are very proud of the fantastic team at Mermaid Trophy Centre, “We are glad to have helped support you and in turn the Commonwealth Games,” says Jordan Buhagiar, Alfex CNC.

When Saatchi & Saatchi wanted something that’s never been done, they turned to Structural Graphics in the US.

This one-of-a-kind, eye-catching gatefold magazine insert was created to appeal and engage consumers at 50,000 select homes nationwide in the upcoming March issue of InStyle magazine.

The insert marks the first time an LCD monitor simulator has ever been put into a magazine. It is also the first time two completely independent electronic units have been combined into a synchronised magazine unit. Take a look behind the scenes of the making of the innovative, spectacular Toyota Camry Pop-Up Magazine insert, the first of its kind – ever!

Clegg Media was commissioned by GPY&R Brisbane to print and install a large aeroplane wrap as part of the Tatts Powerball 25 million promotional campaign in December 2016. The brief was to make the plane appear to be covered in Christmas wrapping paper complete with a giant bow and gift tag, without leaving any glue residue or damaging the plane.

A great deal of pre planning was involved to ensure all aspects of the project were completed effectively. Measurements were taken of the Alliance Airlines Fokker 70 and templates made to ensure precise trimming of the banners.

The plane wrap was printed on Clegg Media’s large format HP Scitex XP5500 Industrial Printer on a light weight banner stock. The wrap took 12 hours to print.

To avoid leaving glue residue or damaging the existing graphics on the plane a low tack self adhesive vinyl was applied to the underside of the plane, the banners were then attached to the self adhesive vinyl. The gift tag was directly printed to foam core in 2 separate pieces on Clegg Media’s hi resolution Titan UV printer and joined together on site.

The plane was installed inside a hanger at Brisbane Airport. The install took 4 people, 3 days to complete and the removal was done by 3 people in 6 hours the following day. The plane was then towed and positioned at an aerobridge for viewing by incoming and outgoing passengers. Promotional photos and video for TV coverage were taken by GPY&R Brisbane.

The whole project was managed by Barry Clegg, General Manager Clegg Media. Clegg Media is a proud Queensland family owned company founded in 1996 and is one of the leading media production suppliers in it’s market. We are committed to ongoing innovation, supplying customers with the latest advice and services offered in large format printing technology.

If you want to see the future of the industry, then look no further than the campaigns from 19 Crimes winery. This is brilliant stuff. They really take goof idea and get the best results by combining both print and digital elements to the best of their ability.

Mexico-based print service provider, Moti Digital 3D printed a towering, head-turning skeleton for the Mexican Festival of Light celebrations in Guadalajara.

The four-day event explores how light and art work in perfect harmony and encapsulates the culture of Guadalajara. Moti Digital used its Massivit 1800 3D Printing Solution to create a model that would ‘wow’ visitors to the event and demonstrate the impressive capabilities of large format 3D printing technology.

Measuring at 8.40m (27.52ft) long and 3.60m (11.8ft) tall, the breath-taking skeleton was produced in just four days. The painted skeleton was positioned inside thePlaza Tapatía fountain pool and illuminated at night, where thousands of festival-goers were able to sit in its arms.The experience generated huge amounts of conversation and photos that featured prominently across social media platforms.

The lifelike skeleton will also feature at this year’s Festival del Día de los Muertos, taking place throughout Mexico from the 31st October.

www.motidigital.com

Street artists from near and afar will gather in Brisbane from 31 March to 15 April to transform walls into canvases and redefine the way people engage with public art during Brisbane Street Art Festival (BSAF) 2018.

Brisbane’s annual street art festival returns for its third year with its biggest program yet. More than 50 Australian and international artists will create 50 large scale murals in South Brisbane, Spring Hill, Fortitude Valley, Paddington, Annerley and Brisbane’s CBD – double the number of murals created in 2017.

Notable works will transform Fish Lane, a Telstra Exchange Building, Ric’s Bar and Brisbane Powerhouse thanks to spaces provided by partners ARIA Property Group, Brisbane City Council (BCC), Brisbane Powerhouse, Ric’s and Telstra.

For BSAF 2018, festival organisers have curated street art masters from Malaysia, Indonesia, Hong Kong, England, Colombia and Mexico to join leading Australian artists such as Sofles, Gus Eagleton, Fuzeillear, Emmanuel Moore, The Brightsiders, Sindy Sinn, Shida and Sirmano, many who hail from Brisbane.

Colombian artist Gris One will join Hong Kong’s self-taught street art queen Bao Ho, Mexican calligraphy specialist Said Dokins, Malaysian artists Kenji Chai and Cloakwork, London geometric guru Rosie Wood and Indonesian artist Tuyuloveme to paint their first ever works in Australia.

Festival Director Lincoln Savage said street art is helping redefine the city of Brisbane.

“The program is bigger and better and signals Brisbane’s creative potential, we encourage all locals and visitors to come out during BSAF to see new artworks created before their eyes,” said Mr Savage

“This year seven international artists are joining us for the festival, including six who have chosen to paint their first Australian work in Brisbane, which speaks volumes about our ability to attract great artists and the recognition the international community has for our burgeoning street art culture.”

Festival organisers have been working closely with Alethea Beetson, director of Digi Youth Arts, to ensure the program supports and nurtures Indigenous artists and the murals reflect stories of their people. Mexican artist Said Dokins will paint a large mural on the Telstra Exchange building in Spring Hill, lending his style of street calligraphy to a piece focusing on keeping Indigenous languages alive.

Brisbane art duo Land Writers, known individually as Warraba Weatherall and Daniel Jones, will also make their mark on the city, transforming the laneway at 181 George Street with what will be a moving piece.

Led by Indigenous artists Dylan Mooney, Tori-Jay Mordey and Kiana Larkins, nine artists will gather to create temporary artworks on the QPAC Cultural Forecourt as part of Festival 2018, the Gold Coast 2018 Commonwealth Games’ statewide free arts and cultural program. The artists will work together to create works that celebrate Brisbane and pave the way for a shared vision of the future.

Another highlight of BSAF will be Within These Walls, a major one-month long exhibition featuring works of all shapes and sizes from 50 local and international artists at Brisbane Powerhouse, opening on Thursday 12 April.

Cezary Stulgis will also team up with Australian street art legend Benjamin Reeve for a momentous return to paint a new mural on the Brisbane Powerhouse. Cezary last graced the building’s walls over 20 years ago before it was transformed into the building it is today, with two of his works on the building now heritage protected artworks.

BSAF also provides an important platform for emerging artists. This year BCC has provided four city-owned public walls as canvasses, two of which will be painted by artists involved in the BCC Youth Art development program, which links emerging talent with industry veterans.

The festival will kick off bang on Sunday 1 April with a free launch party at Ric’s in Fortitude Valley. Brisbane veterans Drapl and Treazy will paint a mural in the bar’s backyard area and live music will be provided by The Gametes, FeelsClub, Desmond Cheese and YELLOWCATREDCAT. The launch will also see the resurrection of Scribble Slam, a live art battle between two artists, Bao Ho and Sunshine Coast artist EJ Zyla. Each artist will create a work focused on a theme that is revealed on the night, with one artist to be crowned the winner. Scribble Scram will be a monthly event at Ric’s with a rotating lineup of artists.

Brisbane Street Art Festival 2018

When: Saturday 31 March to Sunday 15 April

Where: Brisbane, Queensland

Cost: Free

For more information and live art viewing sessions click here

The new boat – spotted covered in vibrant camouflage at the BAR testing facilities – will establish a whole new class of yacht. The mid-30ft craft will bring speed, efficiency and new technology while remaining true to Princess’ core with high quality materials, comfort, seakeeping, craftsmanship and design that will stand the test of time.

While specific information on the boat isn’t yet available, it was spotted in Portsmouth in ‘dazzle camouflage’ – an eye-catching pattern designed to confuse the eye and disguise the yacht’s features. The bold camouflage seen in the spy photos of the development test boat was created by Katie Sheppard from the Plymouth College of Art, who was among 20 students on the BA Printed Textile Design and Surface Pattern course that competed to design a new version of Dazzle for Princess on this exciting project as part of their curriculum.

Dazzle was originally conceived of by Norman Wilkinson for early 19th century Naval vessels, featuring a specific geometric pattern that confused rather than concealed. These original dazzle camouflaged Royal Naval vessels were created in Plymouth – at the very same site where Princess creates its award-winning luxury yachts today.

www.wildgroupinternational.com/

The representatives further describe, “We clad the area in 8mm marine plywood and then attached 3mm Dibond aluminum composite material to it. Using our HP LX 3000 we printed the over 16,000 square feet of Class O fire-rated vinyl to ensure the one hour fire rating required on the project.”

Interestingly, the team utilised a floor vinyl graphic system on the walls to further increase its potential shelf life and added an anti-scratch laminate to the graphics. The project took a total of eight weeks to complete with PressOn completing some artwork in-house like the project’s “crumpled wrapper” graphic.

With any large format program, PressOn did overcome some challenges explaining, “The installation is in an area of extremely heavy traffic, with both parents and children touching and interacting with the 4D Chocolate Adventure experience.”

Cadbury’s Advertising Operations Manager had a glowing review of PressOn stating, “On site we all breathed a sigh of relief when PressOn’s ‘blue and yellow’ vans arrived. We knew that the job would get done, the paper would be in order, and we would all hit our deadlines.”

With Cadbury’s signature purple and yellow color palette, the Park offers a captivating experience for the whole family. As the second largest confectionery brand in the world, Cadbury is a globally recognized brand. The Cadbury’s World Theme Park is a perfect representative of their slogan, “Taste Like This Feels,” offering more than a candy bar and instead creating an experience.

www.presson.co.uk

It is a giant leap from historical times in ancient Egypt to the 21st century. Océ – A Canon Company, is bridging the two eras by recreating parts of the tomb of Seti I. Seti I was a pharaoh in the nineteenth Dynasty. Océ elevated printing technology was used to create exact reconstructions of the tomb’s high relief walls, pillars and sarcophagus.

Océ worked closely with the Factum Foundation for Digital Technology in Conservation. Together, they printed large molds to create the reconstructions and adapted Océ’s elevated printing technology to print reliefs up to 15 mm high. Another partner, Factum Arte, used the Océ prints to create the final panels and sarcophagus for the exhibition in the AntikenMuseum in Basel, Switzerland.

The high accuracy level offered by Océ’s elevated printing technology faithfully produced the surface of the painted walls from the tomb of Seti I. The technology transforms images in high-resolution 3D digital files into physical objects. It prints scanned data on a scale and at a resolution that exceeds any other currently existing elevated printing technology.

“It is great work,” says Enrique Esteban, team leader of Factum Arte. “This exhibition and Océ have been fundamental to making it all possible.”

Reconstruction of our cultural heritage is just one of the many applications made possible by Océ elevated printing technology. It is also applied to reproduce paintings of Dutch Masters, such as Rembrandt, Van Gogh and Vermeer, to produce elevated maps and braille signage for the visually impaired, to produce elevated artwork and interior decorations for the home and office, and to create branded marketing items, such as printed emblems for football teams and sport clubs.

Elevated printing is just one example of how Océ is printing the world in whole new ways.

www.oce.com/about/

One of the ultimate forms of signage is the Sky Sign. Here’s some great advice from the experts when it comes to these types of amazing projects.