Timberland - Real Man
Illustration Meets Product...
The idea of this spec campaign was to create a possible print ad that could be used in magazines or as posters. Utilizing a gray scale illustration versus a human, draws more emphasis to the show and to the brand. While the illustration does create a humorous feel the viewer's eyes are directed to the boots and the Timberland logo.
The iconic Timberland logo was set behind the character "John", as if to establish the idea that he has grown into a real man, in comparison to the logo's tree taken on a new life or lifestyle. Many logos today, such as the Timberland logo, are highly recognizable thus the viewer will still view the logo as the Timberland logo even if it is set behind the character of John.
Taking the concept further...
With any idea one can expand upon it. The concept behind the print ad / poster can easily be turned in to a commercial. However, this time using actual people.
Picture this...
Open to a boring monotone office where you see a normal guy sitting working. You can tell he is wanting more out of life. He then pulls a Timberland shoe box from his desk drawer. He puts on the boots. He then goes about his daily work routine, but he gradually begins to take on the persona of a lumberjack. Starting with a flannel shirt and finally ending up with a beard. As this happens the other men in his office begin wearing Timberland boots and changing. The result is an office full lumberjacks. Our main character is making copies at the copy machine he turns around and bumps into another lumberjack.. however, we reveal that the lumberjack he bumped into a woman with a beard. He looks down at her boots and says, "Nice boots Sally." The woman smiles. The Timberland logo appears on the screen and you hear the a voice say "Timberland... let your beard out!"
The target audience of this commercial is not only men of all ages but women as well. The playful humor in the spot, creates a memorable moment while showing that the boots are actually made for women as well.
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