Communication Marketing

L’actualité de la publicité inbound et outbound

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Publicitem, agence de communication en Alsace

Depuis 2010, Publicitem accompagne les entreprises dans la création et la valorisation de leur image de marque. Née d’un studio graphique en 2008 et implantée à Saverne (Alsace), l’agence est aujourd’hui un partenaire global en communication : stratégie, branding, design, rédaction, web et print.

Mission

Aider les marques à être visibles, mémorables et impactantes. Notre méthode maison, Take Five, vise à booster :

votre communication,

votre trafic,

votre visibilité,

grâce à des contenus et visuels cohérents,

alignés sur vos objectifs.

Expertises

Communication & branding

Conseil stratégique et identité de marque

Argumentaire et positionnement éditorial

Sémiologie, storytelling et conversion

Web & digital

Création et refonte de sites (Drupal, CMS, responsive)

UX/UI design et optimisation SEO

Hébergement, maintenance et campagnes digitales

Design & graphisme

Logos, chartes graphiques et identités visuelles

Supports print (flyers, plaquettes, cartes, catalogues)

Illustrations, mascottes, motion design

Rédaction & SEO

Contenus web optimisés (SEO / SXO)

Storytelling et articles de blog

Élaboration de chartes éditoriales

Impression en ligne

Suivi qualité auprès de nos partenaires imprimeurs

Diffusion sur vos canaux digitaux et sociaux

Valeurs

Créativité : une identité différenciante et originale

Cohérence : une communication alignée sur vos objectifs

Proximité : écoute et accompagnement personnalisés

Efficacité : gestion de projet fluide, travail collaboratif via cloud sécurisé

Pourquoi choisir Publicitem ?

Parce que votre marque mérite d’être remarquée et retenue. Nous ne sommes pas qu’un prestataire, mais un partenaire durable, impliqué dans la réussite de vos projets.

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https://www.publicitem.pro/vous/communiquer-developpement-durable

[communicationmarketing]

Amélioration de l’#UX sur notre site. Des entrées du menu principal rejoignent le footer et dégagent un peu l’espace pour libérer de la charge cognitive du visiteur. Voici avant :

[communicationmarketing]

Yūsaku Kamekura (1915–1997) was a pioneering Japanese graphic designer, dubbed the "Boss" of post-WWII design for blending modernism with national motifs. Born in Niigata Prefecture, he studied at Tokyo's Institute of New Architecture and Industrial Arts, launching his career with book covers and posters in the 1930s. His corporate logos for Nikon, TDK, and Japan Airlines elevated Japanese visual identity globally.

Kamekura's masterpiece is the 1964 Tokyo Olympics emblem, unveiled in 1961. Amid a competition with designers like Ikko Tanaka, his minimalist design, a bold red sun disk (evoking the Hinomaru flag) atop the five golden Olympic rings on white, paired with sans-serif "Tokyo 1964" text, won unanimously. Created hours before the deadline, it symbolized Japan's post-war renewal as Asia's first host Games.

[communicationmarketing]

Luc Donckerwolke, a Belgian automotive design maestro, shaped the 2021 Kia logo as Chief Creative Officer at Hyundai Motor Group. Born in Lima, Peru, in 1965, his global upbringing and engineering background fueled a career spanning Peugeot, Audi, Lamborghini, Bentley, and Genesis. The Kia logo, co-designed with Blackspace, embodies "movement" with a sleek, modular graphic system, inspired by Seoul’s energy. Featuring a minimalist "Kia" script, it uses Midnight Black, Polar White, and vibrant accents like Afternoon Yellow. This redesign, part of the "Sensuous Sportiness" philosophy, reflects his innovative legacy, earning him the 2022 World Car Person of the Year title.

[communicationmarketing]

The iconic ASICS logotype was crafted in 1977 by Alan Peckolick and Herb Lubalin, blending bold typography with dynamic energy. In 2015, Peckolick teamed up with Bruce Mau Design to evolve the brand, introducing the ASICS Tiger logo with "TIGER" in matching style, amplifying its sporty, lifestyle vibe. This timeless design reflects ASICS’ commitment to innovation and heritage, resonating with athletes and sneaker enthusiasts worldwide.

[communicationmarketing]

Adolf "Adi" Dassler, the visionary founder of Adidas, revolutionized sportswear with his innovative designs, most notably the iconic Trefoil logo introduced in 1971. Born in Herzogenaurach, Germany, Adi began crafting shoes in his mother's laundry room in the 1920s, driven by a passion for enhancing athletic performance. His commitment to quality and functionality laid the foundation for Adidas, a brand that became synonymous with excellence. The Trefoil logo, designed by Adi and his team, marked a pivotal moment in the company's history. Comprising three leaves and three stripes, it symbolized Adidas's expansion into leisure and lifestyle products while honoring its athletic roots. The logo's elegant simplicity captured the brand's versatility, blending performance with style. Adi's hands-on approach ensured the design reflected his belief in craftsmanship and innovation. Debuting at a time when Adidas sought to distinguish itself in a growing market, the Trefoil became a global emblem of authenticity and aspiration. Adi's legacy endures through this enduring logo, which remains a testament to his foresight and dedication to pushing boundaries. Today, the Trefoil stands as a cultural icon, embodying Adidas's heritage and Adi Dassler's relentless pursuit of excellence in sportswear design.

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Saul Bass, a renowned graphic designer, created the Warner Communications logo in 1972 with Herb Yager & Associates. Known as the "Big W," the stylized, cable-like W unified Warner’s diverse film, music, and publishing divisions, moving away from the Warner Bros. shield. Paired with a modified Handel Gothic typeface, the logo reflected the company’s communication focus. It remained in use until Warner’s 1990 merger with Time Inc., showcasing Bass’s knack for iconic, enduring designs.

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Schematic blueprint for the New Jersey Transit Corporation logo, created by Milton Glaser in 1981. It illustrates the use of a grid system to precisely construct the logo, starting with basic geometric shapes and gradually refining them into the final "NJ" symbol. The final result is a bold, functional logo suited for a transportation system, emphasizing both technical accuracy and aesthetic appeal.

Note: There are two different spacing values shown between the letters “N” and “J” in the NJ TRANSIT symbol diagram: 0.18 units and 0.25 units. These small distinctions ensure precise proportional spacing when reproducing the NJ TRANSIT mark at any scale.

[communicationmarketing]

Yang Sung-Chun (양승춘, 梁承椿; 1940–2017) was a pioneering South Korean graphic designer, born in Seoul as the third of six children. Showing early artistic talent, he studied at Seoul National University, where he later became a professor in the Department of Applied Art. His career highlights include winning design contests in the 1960s, working for OB Beer and ad agencies, and co-founding the Korean Society of Graphic Design in 1972. He created over 300 works, including corporate identities for public organizations.In 1983, Yang's emblem won an open competition for the 1988 Seoul Olympics (Games of the XXIV Olympiad), selected from 26 proposals by ten designers. The design features the traditional samtaegeuk pattern, three swirling taegeuk motifs from the Korean flag, symbolizing centripetal forces (global unity and harmony) and centrifugal forces (outward pursuit of prosperity).

[communicationmarketing]

Joseph Caroff, a prolific graphic designer, died at 103 on August 17, 2025, just before his 104th birthday. Born in 1921 in Linden, New Jersey, Caroff studied at Pratt Institute and worked under poster designer Jean Carlu. In 1962, he created the iconic James Bond 007 logo for the first film, Dr. No, transforming the "7" into a gun inspired by Ian Fleming’s Walther PPK. Commissioned for a publicity letterhead, he was paid $300 without royalties or credits, yet the logo became a global symbol, featured in every Bond film. Caroff’s portfolio included posters for West Side Story, A Hard Day’s Night, Cabaret, Last Tango in Paris, and Manhattan, plus title sequences for films like The Last Temptation of Christ. Despite his extensive work on over 300 film campaigns, he remained relatively unknown, rarely signing his designs. His 007 logo, praised for its simplicity and elegance, endures as a cinematic hallmark. Caroff later founded J. Caroff Associates and retired in 2006 to focus on painting. His legacy, highlighted in the 2022 documentary By Design: The Joe Caroff Story, continues to influence graphic design

[communicationmarketing]

In Buddhist tradition, Kwanon (also Kannon or Guanyin) is the revered bodhisattva of compassion, known as Avalokiteshvara in Sanskrit. Evolving from a male figure in Indian Buddhism to a beloved female deity in Japan, Kwanon embodies mercy, often depicted with 1,000 arms to aid the suffering or 11 heads to hear their cries. Adorned in flowing robes or holding a vase of compassionate nectar, she’s a beacon of kindness, worshipped in temples like Tokyo’s Sensō-ji. Her legacy of benevolence inspired a brand that revolutionized imaging.

In 1933, Precision Optical Instruments Laboratory named its first camera “Kwanon,” honoring the goddess’s compassion, with an early logo featuring her multi-armed form and flames. By 1935, the name evolved to “Canon,” a phonetic nod to Kwanon, meaning “scripture” or “standard,” reflecting precision and excellence. The logo, initially intricate, became the bold, red “Canon” design we know today, finalized in 1956. Its sharp, unique typeface and vibrant color symbolize innovation and reliability. From cameras to printers, Canon’s logo carries Kwanon’s spirit, blending ancient compassion with modern technology, capturing moments with clarity and care. #canon

[communicationmarketing]

Quand le design est bon, il est intemporel 💡

[communicationmarketing]

Comment être cité par les IA ? Voici les signaux de confiance clés

Les moteurs génératifs comme ChatGPT, Mistral, Perplexity ou Gemini ne se contentent plus de générer des réponses : ils décident aussi quels

Les moteurs génératifs comme ChatGPT, Mistral, Perplexity ou Gemini ne se contentent plus de générer des réponses : ils décident aussi quels contenus méritent d’être cités et jugés fiables. Mais sur quels critères se fonde cette “confiance artificielle” ? Et comment les éditeurs, marketeurs et PME peuvent-ils en tirer parti ?

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#NanoBanana vs #Photoshop: A Fair Comparison

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Un temps d’écran excessif pourrait coûter 2,3 points de PIB à l’horizon 2060 selon une étude - The Media Leader

Le temps excessif passé sur les réseaux sociaux et certaines plateformes pourrait, en dégradant la santé mentale et les capacités cognitives

Le temps excessif passé sur les réseaux sociaux et certaines plateformes pourrait, en dégradant la santé mentale et les capacités cognitives des enfants, coûter jusqu’à 2,3 points de PIB par an à la France à l’horizon 2060, selon une récente étude.

[communicationmarketing]

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