Work by the master of live humour, the multi-talented Jon Burgerman 

Case study 1
Ted Baker’s Drawing Room

To coincide with launch of Ted Baker’s SS12 campaign, The Great Exhibitionist, in March, creative agency Guided conceived an interactive live-streamed event. Ted’s Drawing Room brought 11 artists and illustrators together to create live pieces in the company’s London HQ.

Customers visiting one of nine stores in the UK and New York were invited to pose for a snapshot in special photo booths. Their image was then sent via Instagram to the artist’s studio, where the illustrators could ‘choose their muse’ and recreate their selected photo in their own style.

This ranged from the traditional fashion illustration of Jacqueline Bissett to high-end water colour portraiture of Michael Frith, the vector-based work of Dale Edwin Murray and the humour of Serge Seidlitz and Harry Malt. The final 111 portraits were uploaded to Facebook, before being signed and framed onsite and sent to their subject. The event was also broadcast via Livestream on Facebook.

It was important to get the spread of different talent right, explains Adrian Stannard of Guided. “Nothing was left to chance. We wanted to have a spread of talent, profiles and techniques, because that would make for a far more interesting story.”

He believes that the move towards performance design is linked to the new “always in beta” mindset. “Nothing is ever really finished any more – as new technology comes along, things are always being finessed, changed and improved. We’re in exciting times, and it’s important to showcase how you’re getting to where you’re at, as much as where you got to – it’s all part of the journey, as they say.”

Case study 2  
Nike Tennis Roland Garros  

During the finals of the French Open Roland Garros tennis tournament, Wieden + Kennedy streamed the creation of two portraits by two-man design studio Largetosti via the Nike Tennis Facebook page, as part of the brand’s overall campaign.

Dressed in appropriately supportive tennis gear, senior creative director Alvaro Sotomayor and in-house apprentices from Wieden + Kennedy executed portraits of Maria Sharapova as a 12-layer 3 x 3m stencil graffiti, which took eight hours to complete.  

Another painting of Rafael Nadal was ‘painted’ by a paintball robot, with one shot activated by each ‘like’ on the campaign’s Facebook app, with the name of the Facebook fan written on the paint pellet.

According to Alvaro, an element of live performance was in Nike’s original brief. Facebook was the best platform to crowd source an already engaged audience while still keeping the action spreading, he adds, and showing the process can be “a very entertaining way to engage fans”.

With such an international and varied audience, it’s vital to make sure that everyone feels special, according to Alvaro. “You really need to read the comments and be able to change the script on the spot,” he argues.