In this context, the online catalog is to complete the web presence of the watch brand with a revised CI/CD. In doing so, the maritime imagery aims precisely at the tradition of Arnold & Son, combined with a spirit of discovery and innovative technology.

Responsible at Arnold & Son: Aude Solari (project management), Sabine Schaltegger (image and text). Responsible at Futurecom: Silke Heinzelmann (Art Direction), Elias Zurbuchen (Factory), Marcin Kolonko (Flash), Dominik Cattaneo (Multimedia), Marc Maresch (Consulting and Project Management).

The brief was to present the chocolate expertise of Camille Bloch (Ragusa, Torino) in a "foodier" and appetizing way, the agency said in a press release on Thursday. The basic concept is based on large background images, gradients and a flowing user experience. The reduced navigation on the left-hand side is intended to give the chocolate plenty of space. The claim "Mon Chocolat Suisse" appears as a golden hand lettering and underlines the specialty note of Camille Bloch in form and content.

Responsible at Camille Bloch: Regula Gerber (Head of Communications), Heinz Reber (Head of Marketing and Sales), David Sommerhalder (Product Manager). Responsible at Coundco: Florian Wieser (Strategy), Jaromir Fuoli (Art Direction), Ruedi Lüthi (Programming), Tina Sebald (Client Service). Responsible at By Heart: Markus Bircher (Strategy), Hans Siegwart (Creative Direction), Martin Kurzbein (Art Direction), Cécile Schurtenberger (Account Direction).

The new wesite is designed to provide a simple and sinlich shopping experience, the agency said in a statement Thursday. A fundamentally new concept was also designed for the social media presence. Here, five specialists - from maître chocolatier to sensory expert - present Maison Cailler from its most personal side on Facebook, Twitter and Co. The subjects are used off- and online. They were created by star photographer Rankin and feature portraits of models who literally have chocolate tailored to their bodies. They're meant to make it clear that "for every unique character, there's a unique chocolate."

Responsible at Maison Cailler: André Hefti (Head of Marketing) , Yves-Louis Pigueller (Head of E-Commerce). Responsible at Jung von Matt/Limmat: Fernando Perez (Creative Direction), Mateo Sacchetti (Text), Daniel Serrano, Wim Roelfs (Art Direction), Lukas Frischknecht, Tenzin Tibatsang (Graphics), Ilonka Galliard, Deborah Herzig (Art Buying), Sabrina Arthur, Klara Zürcher, Jil Rotmann (Consulting), Oliver Vedolin, Cyrill Hauser, Nathalie Eggen (Social Media), Rankin (Photography).

The consumer goods group Unilever already uses this job performance evaluation system for its management. According to reports in the Financial Times Deutschland, it is to be extended to other employee groups from January. This writes Wuv.de on Thursday. Resistance to this is now being voiced within the company. One wonders why - shouldn't every employee consider themselves lucky to be part of a color traffic light?

Apparently, the employee system is a nine-field matrix, with "strong" employees ranked in green at the top right and "weak" employees ranked in red at the bottom left. According to a statement from Unilever, this tool includes not only a performance appraisal but also an individual potential analysis and employee-specific development plans. Other employee groups are now being included in this process.

What is significant for the company is that various employees feel massively pressured. According to Wuv.de Group Works Council member Hermann Soggeberg points to a high quit rate and numerous cases of burnout in the Group. Not every employee seems to be thrilled about seeing his or her own work performance value divided into green-red-white. But what does it matter? The main thing is that management can play with the color traffic light. (uma)

The brochure was presented to all employees at a ceremony. "It should be worthy of him and his life's work, convey an impression of his achievements and keep memories alive," explains Carmen Schiltknecht, Managing Director of FBM Communications. In the design, care was taken to ensure that the tribute brochure matched the company's image, the agency explained in a press release on Thursday. At the same time, it should be independent and have a highly personal touch.

Responsible at FBM Communications: Carmen Schiltknecht (concept, various texts & overall management), Julia Trunkwalter (project management & organization), Marianne Kieser (graphic design). Responsible for Wilhelm Kaderselektion: Santiago Alonso (Marketing). Responsible at Druckerei Lutz: Christopf Chapuis.Photographer: Chris Mansfield, St. Gallen. Interview/Text: Christopf Lampart.

In it, SCB players are cloned for double roles. SCB player Tristan Scherwey acts as the movie hero, slipping into five different roles. He is not only a striker, but also a shopping fan, restaurant lover, movie fan and waterslide pilot. In addition to Tristan Scherwey and goalie Marco Bührer, striker Pascal Berger and defender Beat Gerber also act as cloned print heroes.

SC Bern and the Migros Aare Cooperative (Westside Bern Brünnen) have extended their sponsorship agreement early until the end of the 2015/16 season. Westside has been a gold sponsor of SC Bern since 2008, the year the leisure and shopping center opened. The partnership between Westside and SCB is reflected in the core element of the sponsorship on the SCB first team's helmet advertising. The collaboration is even underlined by the recent launch of the first joint product: the "SCB-Bärenzipfel", the sausage legend from the Postfinance Arena, is available in various Migros branches and VOI locations.

Responsible at Republica: Bala Trachsel (overall responsibility), Stéphanie Schneuwly (consultant), Chris Morgan, Mike Krüll (creative direction), Kasper Kobel (art direction), Tugba Kirac (graphics), TopFuel (film production), Michael Sieber (photography), Remo Stoller (composer). Responsible at Genossenschaft Migros Aare: Lorenz Feller (Sponsoring Shopping Centers and Real Estate).

The campaign uses three specific examples to show how much can be achieved together.

Responsible at Swiss Mountain Aid: Ivo Torelli (Communications). Responsible at Exxtra Kommunikation, Zurich: Dominik Oberwiler (ECD), Christoph Hänsli (Art Director), Julia Brandstätter (Text), Edi Walker (Consulting), Thomas Schuppisser (Photography).

Tamina Graber, designer, completed an internship as a children's animator at Robi Spielaktionen before attending the preliminary course at the Basel School of Design. She then trained as a polygrapher at Dicad. After successfully completing her apprenticeship, she explored the other side of the world. During her stay abroad, she attended several language schools. Back home, she completed her vocational baccalaureate. Tamina Graber has been at OSW since March 2012, where she supports the creative department and does the final artwork.

Florian Bürgi is also a desktop operator. He completed an apprenticeship as a federally certified polygrapher. He then completed an internship as a graphic designer with further training in screen design. Various jobs as a graphic designer followed. He has been with OSW since August 2012, where he draws and supports the creative team. He also works as a freelance musician, composer and producer.

In the area of sponsorship, new impetus is to be generated through the collaboration with Channel Media. Simon Scherrer, Head of TV/Sponsoring at Channel Media, will take care of the marketing of SSF formats with immediate effect. In the future, SSF will handle the sale and booking of TV spots internally. Matthias Luchsinger, Managing Partner of SSF Media, will lead the sales activities.  

Through the cooperation with Channel Media, SSF is securing additional marketing potential, according to a statement from SSF. In addition to the targeted supplementation and expansion of the program, this should also enable new impulses to be set at this level.

The magazine, which was founded 80 years ago, will then only be available digitally. This was announced by the publisher in New York on Thursday. The last printed edition will be published on December 31, 2012.

"Newsweek Global", as the digital edition will be called, "will be a worldwide edition aimed at a highly mobile, opinionated audience who want to learn about the world in a sophisticated environment," explained Tina Brown and Baba Shetty, heads of Newsweek and its online offshoot, the Daily Beast. (sda)

In collaboration with Take Two Publicity, the promoters distributed competition flyers, smoothies and Madagascar giveaways specially produced for the children, according to a press release.

Responsible at Take Two Publicity: Jean-Daniel Hügli (Promotion Manager). Responsible at Allaccess: Rebecca Haug (Management).

No other magazine in the German-speaking world enjoys a comparable cult status to the comic book Yps, which shaped an entire generation of adolescents in the 1970s and 1980s. The title owed its popularity primarily to the so-called gimmicks that were included with each issue. While supplements such as the mini dictionary with a built-in plastic gun may not be as well remembered (at least by most readers), one extra left its mark on "Generation Yps" like no other: The primeval crabs. The eggs of the brine shrimp had been enclosed in the magazine 22 times since the mid-1970s and, with a little skill (and luck), could be transformed into a proud mini-crab farm. The fact that even the clumsiest children achieved certain breeding successes was due to the fact that the eggs are extraordinarily resistant: They can survive even at temperatures above 50 degrees for decades, only to hatch at the first rain. This will to survive is something someone should try to imitate.

Since Yps was discontinued in 2000, a huge, but in the meantime adult, fan community has been calling for the magazine's return. Forums, Facebook groups and fan pages persistently expressed the wish that the gimmick-laden comic magazine be relaunched. On October 11, 2012, the prayers were finally answered and Egmont Ehapa published Yps number 1258. In the meantime, not only the readership has grown up, but also the magazine. Glossy cover, 100 pages, (mostly) editorial content instead of comics. A lot of nostalgia, a lot of references to earlier times - and enclosed prehistoric crabs. You can guess: a complete success! Already today asked W&V: "Where are the copies left?" In many parts of Germany, Yps is sold out. "Picking up has begun immediately," says Ehapa spokeswoman Elke Schickedanz. Redistributions from the new German states are already underway. There, it can be assumed, the historical and nostalgic anchoring of the magazine is probably lower.

The following relaunch campaign probably wouldn't have been necessary. But it was still nice. If you haven't seen it yet, you can do so now. (hae)