Listening Comprehension source: Ad Age

What the is the most important element on a global campaign?

How does Jame describe Spetos style?

What media does the artist use to create his art? How has Coca
Cola utilized his art?

What does James mean by not wanting the product to become

matching luggage?

Why something very new can be problem at a global level?

 What was different in former world-cup campaigns by Coca

cola?

How Coke Persuades Its Marketers

Around the Globe to Buy Into World
Cup Campaign
James Sommerville Outlines Creation of World Cup Logo, Design System

How a sketch on a napkin progressed to Coca-Cola's World Cup logo.

It all begins with a logo -- or more accurately, a sketch of a proposed logo on a napkin.
For this year's FIFA World Cup in Brazil, Coca-Cola set out to create a logo that would be "immediately Coke,
immediately football and immediately representational of people coming together for the love of the game," said James
Sommerville, VP-global design. The logo, after all, was meant to become the lynchpin of the company's largest-ever
campaign, "The World's Cup."
Like many large marketers, Coca-Cola has been working to find the right balance between global and local in recent
years, particularly when it comes to its marquee sponsorships of the Olympics and World Cup. Ultimately, marketers
based in Atlanta must shape creative in such a way that marketers around the world will buy in. Mr. Sommerville, cofounder of Attik, a global creative agency acquired by Dentsu in 2007, said there are check-ins with various markets as
the program is being developed to avoid a situation where marketers are unenthused by the final product.

"If there's no collaboration; very little consultation with anybody along the way; it feels too local to the host nation; it's
not something that they can adapt, then there, potentially, would be a temptation for markets to do their own thing," Mr.
Sommerville said. "Over the last two World Cups that temptation has been removed, as we become more experienced
... in developing a system that everybody can adopt rather than push against." The approach proved successful for the
company's latest World Cup effort, which has been adopted by 175, or 85%, of its 207 markets. By comparison, 100
markets embraced the 2012 London Olympic Summer Games campaign.
Graphics were designed by Brazilian street artist Speto. Coca-Cola met with several artists before selecting Speto,
who created elements for the campaign by carving into scrap wood and spray painting on canvas. Those elements
were combined into a modular system that markets can arrange to their liking. They can also be shaded to mimic
countries' national color schemes -- red, white and blue in the U.S. or green and yellow in Brazil, for example. Mr.
Sommerville described the system as a "coloring book" for marketers.
"Our mindset was, how do we go from the napkin to ...175 markets. If we can't take that artwork and turn it into a
system, then it will not get adopted," Mr. Sommerville said. "What we don't want is matching luggage. We give the
markets creative freedom, but actually they're all working off the same ingredients."