Turning Cocktails Into a Colour System

The campaign takes its starting point from optical dispersion, the natural process through which white light separates into different colours when it passes through certain materials. Instead of using the phenomenon only as a visual reference, the creative team made it the actual production method behind BLUSH’s new identity.

The process began with the bar’s signature cocktails. Using a custom setup involving light, glass, liquid and mirrors, beams of white light were passed through each drink. The cocktails altered the light in different ways, producing individual spectral compositions. Across the experiment, 57 distinct spectra were created, with each one physically generated from real light and real liquid.

That detail is important because the colours were not simply designed to look different. Their differences came from the physical characteristics of the drinks and how they interacted with the light. The resulting identity therefore has a direct connection to something that already exists inside BLUSH rather than being an external graphic treatment applied to the brand.

A Rainbow Without a Fixed Formula

Pride branding often relies on the rainbow as an immediate visual shorthand for LGBTQ+ identity. Physics of Pride keeps the connection to the spectrum, but changes the way it functions. Rather than creating one standard rainbow and repeating it across every communication, the campaign establishes a system in which every spectrum can be different.

The 57 compositions were not digitally generated gradients, and no spectrum was repeated twice. This gives BLUSH a broad visual vocabulary while keeping the identity tied to the same underlying process. A menu, poster or social post can use a different colour composition without breaking the relationship between the individual pieces.

The idea also gives the campaign its connection to individuality. Each cocktail interacts with light differently, producing its own result. In the same way, the campaign treats diversity as a collection of differences rather than something that needs to be represented by one universal image.

When the Product Creates the Brand

One of the stronger aspects of Physics of Pride is the relationship between the experiment and BLUSH’s business. The campaign could have used almost any transparent material to demonstrate optical dispersion, but using the bar’s cocktails makes the process specific to the brand.

The drinks are already part of the BLUSH experience, so turning them into the source of the visual identity creates a natural connection between what customers encounter at the bar and what they see in its communications. The cocktails do not simply appear in campaign photography. They actively contribute to the creation of the brand assets.

The resulting spectra were developed for use across menus, posters, merchandise, motion graphics and social media. That gives the campaign a practical identity system rather than a one-off visual execution. The same physical idea can continue generating different expressions across multiple formats.

The Value of Making It Physical

There is also a deliberate choice to avoid creating the entire effect digitally. Digital tools can reproduce gradients and colour combinations quickly, but Physics of Pride makes the physical experiment part of the creative proposition. Real light passes through real liquid, producing results that are tied to the materials being used.

That gives the work a sense of authenticity without requiring the campaign to make an exaggerated claim about technology or production. The visual system exists because the experiment happened. The process can be photographed, filmed and documented, while the resulting spectra can then be used as design assets.

It is a useful approach for identity work because the method itself becomes part of the brand story. BLUSH is not simply presented with a set of colours. It has a repeatable process for creating them.

A More Indirect Expression of Pride

The cultural context makes this approach particularly relevant. According to the campaign brief, public expressions of queer identity in Kazakhstan had become increasingly sensitive as anti-LGBTQ+ rhetoric and legislative initiatives gained momentum. Physics of Pride responds by communicating its central idea through a natural phenomenon rather than depending entirely on conventional Pride imagery.

The campaign does not need to explain diversity through a long statement every time the identity appears. The difference between one spectrum and another carries much of the meaning. The visual system can communicate individuality while remaining flexible enough to work across the everyday touchpoints of a bar.

That makes the campaign less dependent on a single symbolic image. The rainbow remains present, but it is constantly being reinterpreted through the physical interaction between light and liquid.

An Identity Designed to Keep Changing

The strongest part of Physics of Pride is that the campaign idea does not stop with the initial experiment. The 57 spectra provide BLUSH with a library of visual assets, while the principle behind them allows the identity to remain varied across different applications.

That flexibility is particularly useful for a hospitality brand. Menus, merchandise, posters and social content do not have to look identical to feel connected. They can use different spectral compositions while still belonging to the same visual system.

Physics of Pride takes a familiar symbol and gives it a different mechanism. Instead of treating the rainbow as a fixed representation of diversity, BLUSH builds its identity around the idea that every interaction can create something different. The result is a campaign where the creative concept, the production process and the brand application are closely connected.

Credits

Brand: BLUSH
Agency: Ogilvy Kazakhstan
Creative Director: Azatkhan Uxikbayev
Creative Grouphead: Madina Madiyarova
Creative Art Director: Sanzhar Kozzhanov
Designer: Erik Tsoy
Designer: Darya Savostyanova
Designer: Ekaterina Zakiyeva
Motion Designer: Oleg Nepomnyachshikh
Videographer: Radmir Abilyev
Executive Director: Yekaterina Belyashina
CEO, Creative Business DASM: Yuliya Tushina
Client Service Director: Mariya Kalashnikova
Group Account Director: Darya Nurlybekova
Account Manager: Igor Roginskiy
Account Manager: Evgeniya Potlova
BTL Manager: Marat Brimzharov
Additional Credits: Artem Demchenko & Denis Shilov

Many global brands have recently changed their logos by separating logo elements to promote social distancing. Senim-Meirim has rearranged logos of those brands and took the initiative to a whole new level: encouraging people to adopt pets from the shelter. After all social distancing concerns only humans, while pets need our support and we all do need a real friend in those challenging times.

Credits
Advertising Agency: GForce/Grey, Almaty, Kazakhstan
Animal Shelter Employee: Inna Obukhovskaya
Strategic Director: Alua Imangaziyeva
Copywriter: Timofey Pozdeev
Art Director: Sanzhar Kozzhanov
Creative Director: Yevgeniy Kostylev

Tags:
Senim-Meirim, Animal lover, COVID 19, Corona, Coronavirus, Print Advertising, Poster Design, Awareness Campaign, Public Interest, Kazakhstan, Pets

New year plans and preparartions are coming soon. And for the people of Kazakhstan, destinations such as Rome, Moscow and Bangkok are on the list of the most preferred destinations to meet and celebrate the New Year.

Although each of them has its own well-known attractions and different ways of celebrations, Global Air wanted to make them even more irresistible, launching the attractive New Year fares: Great prices for great destination, to start the New Year as you and your family deserve it, full of bright emotions and new impressions!

Credits
Brand: Global Air
Campaign: New Year fares
Agency: FCB Artgroup
Regional Creative Advisor: Juan Pablo Valencia
Creative Director: Tarlan Useynov
Copywriter: Juan Pablo Valencia / Erica Romero
Art Directors: Juan Pablo Valencia / Doniyor Mamanov
Designer: Oleg Tsoy
Managing Director: Demet Demiray

Global Air – Ivan Kostenko

Tags:
FCB Artgroup, Print advertising, Creative Print Ads, Print campaign, Creative Advert, New Year fares, Kazakhstan, Rome, Moscow, Bangkok

In Kazakhstan, not everyone is accustomed to using plastic cards: 37% of Kazakhstanis withdraw funds as soon as they receive them.

Goal:
To show that using cash is inconvenient, while ForteBank has a simple solution – transfers by phone number.

Idea:
To shoot absurdly long-lasting advertisement which is uncomfortable and uneasy to watch, just like to use cash in the 21st century. But, in order to feel this, you need to watch the video for all 9 hours from start to finish.

We knew that no one would do that. For this reason exactly, we hid in the video 1 million KZT (phone number digits appeared throughout the entire video), which can be found only by watching the video from the very start to the very finish.

The longest bank advertisement in the world

Credits
Brand: ForteBank
Product: FortePay
Campaign: FooortePay – the longest bank advertisement in the world
Advertising Agency: RA Kombinat, Almaty, Kazakhstan
Creative Director: Nikita Yermolayev
Copywriter: Rassul Abidov Producer: Yelena Dmitriyeva
Art Director: Diana Korchevskaya
Cameraman: Ruslan Chernykh / Cheapass
Video Editing: Ruslan Chernykh / Cheapass Video, Viktor Brodyagin, Arthur Jandildin, Yevgeniy Pichugin / Kruto.kz production
Marketing Director: Anton Kim
Senior Marketing Expert: Nurzhan Makhmudov

Website: FortePay
Website: ForteBank

Tags:
Digital, Kazakhstan, Finance, ForteBank, RA Kombinat, FortePay, FooortePay, Best Digital Campaigns, Digital Marketing Trends, Best Online marketing strategies, social media campaigns

The video shows a typical Kazakhstani “blogger” who posts issues once a week. However, with the advent of unlimited YouTube access from Tele2, he understands that this is not enough: a taxi driver, a waiter and even his own mother want to see new stuff. Right here. Right now!

Credits:
Advertised brand: Tele2 Kazakhstan
Advert title: Bloggers, shoot faster
Media: digital (online-video)
Advertising Agency (creativity): Kombinat, Almaty, Kazakhstan
Agency website: http://combination.kz
Agency Facebook account: http://facebook.com/kombinat.agency
Creative Director: Nikita Yermolayev
Account Manager: Yelena Dmitriyeva
Scriptwriter: Timur Shaitkaliyev
Additional credits:
Tele2 Kazakhstan (client):
PR director: Olzhas Bibanov
Senior PR specialist: Madina Turlybekova
Sintez Studio (production):
Director: Alexey Yessipov (Sintez Shmintez)
DoP: Alexandr Yefimov
Executive Producer: Natalya Yefimova

2017 is wasted. People have created new to-do lists – get fit, try/buy something new, get a new job or dream.

We know how to fulfil a new dreams with old, unnecessary stuff. You need to sell it on Avito – Russia’s #1 classified advertisements website.

About Avito
Avito.ru is a Russian classified advertisements website with sections devoted to general good for sale, jobs, real estate, personals, cars for sale, and services.

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Credits
Advertised brand: Avito
Advert title(s): Unnecessary stuff, new dreams
Media (see available options below): tv, internet video
Advertising Agency: FCB Almaty, Kazakhstan
Creative Director: Konstantin Sobol
Creative Grouphead: Ruslan Suleimanov
Art Director: Sergey Alexanin
Copywriter: Dauren Shubayev
Account Manager: Kanat Baimuratov
Production Company: CUBA Studio
Service Production: AnyKey
Post Production: Alien Hand
Published: January, 2018

This Campaigns is related to:
Avito, classified advertisements, Digital campaign, FCB Almaty, Kazakhstan, Moscow, Russia, Digital marketing, Brand marketing, CUBA Studio

The brief was to communicate the main proposition of the brand – a lot of fresh and natural fruits in the bottle of juice.
We’ve created Mr. Appleson who lives in the pack of Palma Juice and gathered all his relatives into his house.

Credits:
Advert title: Mr. Appleson
Campaign name: Palma Juice. Even more fruits in our juice
Media: Print
Industry: Non-alcoholic drinks
Illustrator: Roman Shipunov
Published: July 2017
Market: Kazakhstan
Language: Kazakh, Russian
Agency: FCB Almaty
Advertiser: Raimbek bottlers
Brand: Palma juice
Creative Director: Konstantin Sobol
Art Director: Ruslan Suleimanov
Copywriter: Dauren Shubayev
Account Manager: Anastasia Matveyeva

Image related to:
Fruit juice, food & beverages, drink, Appleson, Non-alcoholic drinks, Print, Advertising, creative ads, creative print campaign, brand creative ads, FCB Almaty, FCB, Kazakhstan, Print advertisement, creative art, print campaign

Advertised brand: Alinex
Headline and copy text (in English): Press. Stress. Flawless!
Advertising Agency: FCB, Almaty, Kazakhstan
Agency website:
Creative Director: Kostyantin Sobol
Art Director: Sergey Bisenbayev
Copywriter: Dauren Shubayev
Published: April, 2016

Credits
Brand: Nutricia
Campaign: Multicomplex nutrition for babies’ support
Agency:FCB Almaty, Kazakhstan
Brand: Malyutka
Executive Creative Director:
Creative Director: Kostantin Sobol
Art Director: Sergey Starykh, Sergey Bisenbayev
Copywriter: Dauren Shubayev
Account Manager: Farida Akhmetova
Director of Strategy: Dmitry Grobov

Creative Director : Sergey Radionov
Agency : DDB
Client : White Bim
Location : Kazakhstan