Category: Ads


D&AD New Blood Highlights

July 5th, 2011 — 10:22am

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D&AD presented the next creative generation this weekend, and we went to check it out. A collection of the best creative, design and graphics from graduates across the UK and as far out as Miami Art College, this year D&AD’s caused less of a fuss than the suicide-based posters of last year. Here’s you a roundup of some of my favourite work and a few things that I couldn’t help but take photos of as we walked around. This post originally appeared on (untitled) London.

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Shane Noonan does some lovely illustrations – his Fox in Human’s Clothing caught our eye. And here, on a lighter note, are some men holding a shoot-out in a wood. Glorious.

Jay Wright manages to make recycling fun and quirky with trees that chop up humans.

Ellie Pickering’s collection of characters caught our eye with their individual quirky profiles. I adored her family of owls and am pining to buy one of her mugs.

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Sarah Water’s beautiful animal illustrations caught our eyes with some gorgeous ducks. Some reminiscent of a more sensible Quentin Blake, they’re gorgeous.

And I spotted this ‘about me’ poster, which was one of the best that caught my eye. Unsurprisingly it won a Best New Blood award.

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Cardboard animations and adland piss-take

July 4th, 2011 — 3:14pm

I do love a good cardboard animation but alongside being very cute, the script is ace. Promoting The International Exchange, it treads the perfect line between perfect piss take and promotional video. Watch it, rather than have me quote parts out of context. Quickly now, while I struggle to keep my poor impersonations away.

It’s directed by Joseph Mann whose other animations are well worth a look. I’ve fallen a bit in love with the look and feel of this little story about a Chimney Sweep on an Edinburgh roof top who has a love of sandwiches and planes.

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A story about an interview.

January 18th, 2011 — 8:19am

About where I worked last summer. A story in which both good and some less-good things occur.

Everything goes very smoothly – suspiciously so. I get on my train to London, and it arrives on time. This is a brilliant feat. One day, I had been thinking, I would like to learn to catch trains on time – perhaps today is that day. Perhaps there will be no more fantasising about Bernard’s Watch. I alight from the train and stroll down cobbled streets and breweries, past the Thames, and take a short wrong turn with an enticing troupe of tourists near the Globe. After some back-stepping and floundering with my map for a couple of seconds, I find I am still on time. I stroll like I have never strolled before. I do not sweat profusely and wheeze my way running up the steps but instead arrive leisurely, emitting new-found smugness everywhere.

At reception I am given a badge which makes repeated attempts to fall off me. I cunningly turn the paper around inside it and wear the clasp back-to-front. Perhaps today, I have become master of the name badge too – another previously failed forte.

“Hello’”, we say when I arrive. I get in the lift and make successful and successive small talk. We stop on the first floor. I try to get out, more people try to get in. “We are going to the fourth floor,” says the man.

“Aha,” I say, demonstrating knowledge and understanding beyond my years. We stop at the second floor. I try to make its acquaintance.

We walk past meeting rooms with skylines frosted into giant walls of glass. “The Matterhorn,” says one. I have been there, I think. I have skied up and down it. I want to go skiing, but we settle in “New York” with a window full of rectangles instead of angled triangles, which pleases me less and makes me think of visas. That said, I am thrilled by the panoramic visions of frosted glass and have just caught sight of a pool table. Regardless of whether it is in use, it’s a good start. I am offered a can of Diet Coke. It comes from a special fridge, and I am very pleased.

The second interview is somewhat different.

Somehow, I am late and rushing out the door. The sky rains on me; up and down my coat, on my newly-washed head, and on the toes of my shoes. This is not how I envisioned my very-important-interview-day going. I imagined a leisurely stroll to the station followed by a short but pleasant ride on something resembling the Orient Express.

“We are going to London Victoria,” says the train once I am on it, hiding me from the rain. I argue with it but it transpires that I am on the wrong train. I languish inside my carriage, watching the rain go by as hills and murky villages of home counties fly past. Soon, I am not wet, the rain is dissipating, and I have begun an awkward fight with the underground and a furore of coats going on and off, as England is still in the stage where it cannot decide if it is Summer or Winter.

I arrive without a map, having only dithered briefly. “Hello,” we say. He wears red braces. It is not just employers that google their interviewees, so I have come expecting red braces and such frivolities.

I am offered Diet Coke again. I am pleased again. Havens of mini-fridges filled with Diet Coke could serve as the sole reason I want to work in advertising. There are a couple of other reasons too, but this is about 90% of it.

We stomp down a corridor. I am in heels made of something posh masquerading as vinyl plastic and wonder if they make me walk slower. Stomp stomp, I go. Following suavely from behind, we round a corner and my right foot disappears from under me as the shoe decides it do not like the carpet apparently made from wet ice. “Swoosh! Goodbye,” it goes. In the background I stall, stagger and flail my arms subtly without notice as we stride along. I regain my cool and calm exterior.

We settle down. I manage not to fall over doing so. “What’s your dissertation on?” I am asked.

“I have two,” I say, trying to tread the fine line of facial expression somewhere between hard-done-by-student and eager-bookworm, which is pretty much where I lie, regardless of what my face says. “One is about Diesel’s ‘Smart is boring, Stupid is creative’ campaign which totes new media as a replacement for genuinely good ideas. There’s just lots of chicks flashing CCTV cameras.” I avoid putting on my feminist face. “The other’s about the Windows 7 Parties, and how the global brand created a local campaign, tapping into a different type of social network, and how it enhances the digital divide.” I smirk inwardly at the topics, regardless of how many theories can be applied.

“And how are you researching this?” I’m asked.

‘Analysis of secondary data?’ I think. I decide this is an absurd answer; I can’t say that. Instead I go for something more intellectual. “I’m er, reading lots of theories and picking the bits I like,” I say.

They decide my answers are sterling and I go to work at iris.

I very much liked this neon sign that sat on the wall.
iris

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Ad Agency Language

January 3rd, 2011 — 4:06pm

A few weeks ago I was banging on about some Nike and Adidas ads that had nonsensical slogans calling for yoof to step up to allusions of some sort of street sportswear-based immobile movement. Silly things. Language is a mysterious thing, and I’ve been reading Advertanon which suggests an interesting stereotype about Fallon. A stereotype I wasn’t aware of.

“This is interesting because for me Fallon have always had a strange relationship with language and meaning. When you think about it, the defining characteristic of most of their advertising is that it literally doesn’t make any sense.”

Beyond however true the statement about Fallon is, the point about institutional language is intriguing as anything. Whilst I know each agency has its stereotype, I’ve always thought of the difference as more structurally-based: how experimental, open to digital, or traditionally-based an agency is, say (in the worst case with each individual merely slotting into an existing regime and often constricted by existing rules that are a struggle to push in any way). It has never occurred to me that language comes in any set form dependent on what advertising institution you go to.

And if a stereotype were to stretch to language then this might only really encompass tone rather than how actually coherent a brand’s slogans are. Because, rather than adapting for a brand, it strikes me as odd that an agency would inject its own pattern of incoherency throughout all client work. They’re not newspapers. They cater to a multitude of audiences. Perhaps that’s naive and stamping your agency style over it is great. Perhaps I just disagree with the notion because it’s being panned in this case. I suspect it’s because it seems to shout of a lack of variation.

I haven’t looked through enough of Fallon’s work to say whether the point that stemmed this post is accurate, but it made me think. Now, onward to pinpoint quite who is the Daily Mail and the Guardian of the ad world..

(And then advertanon added this, which made my day.)

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Blogs I like: Nike, Adidas and the terrifying yoof

December 5th, 2010 — 4:29pm

Much like the best writers (as a rule) read lots of books, the blogs I love are often written by people who like to read books*. I spend my time filling a little book with words I do not know. I may not remember them all but one marked result is the word ‘accoutrement‘ occasionally littering my sentences. But this is neither here nor there.

I get excited by words and MichaelJon is an ad planner who puts words in good orders. I suspect he reads books. It’s a good combination. He once gave me some marvelously written advice about ad planning, both helpful and a little joy to read (“I am flanked by planners who drink industrial sized vats of coffee, and I think people respect them more for it.  Like they need it to keep up with their own mind.“).

So when he talked about two Nike & Adidas efforts recently, it made me smile a lot:

Nike and Adidas

“On recent travels around London I couldn’t help but notice a new advertising trend in angry illiterate exclamation by sports brands adidas and Nike. And at first i didn’t think much of it.  Just, you know, it’s that sort of slightly wack attempt at building a “community” by repeatedly hitting people over the head with a message utterly lacking in substance.  “WE ARE LONDON!” it screams, “ARE YOU?”.  Obviously it’s nonsensical, but it’s got slightly “edgy” youngsters staring straight at camera so you’re tempted to mutter, “yes, yes, ok, i’m London, ok, fine, just leave me alone, i don’t want any trouble”.  Then you think, oh, maybe they don’t want you to “be London”, so you whisper “no, obviously i’m not London, no way am i cool enough for that”, by now quite confused and scared, like Dustin Hoffman’s Babe in Marathon Man, repeatedly being asked “Is it safe??”.”

*A love of Paxman is also a common theme.

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