In 20 words or less, what's your creative philosophy? What a great question that surely would generate some very creative responses. The SF Egotist first took to asking San Francisco based creatives that very question, the response was a wonderful glimpse into the thought process of some very talented creatives.
We decided to take the very same question to Toronto creatives, in 20 words or less, what's your creative philosophy? What they shared gives us a look into the thought process of some extremely talented individuals. Take a look - tell us what you think and if you have a creative philosophy of your own share it in the comments.
"Love what you sell.
Then be honest with yourself about
the human emotion why you love it (greed, lust, etc). " - Kevin Drew Davis
Chief Creative Officer at DDB Canada,
Jared Dunten is a lot of things. Copywriter. Artist. Father. Husband. Paraplegic. Fighter. That last one probably should have come first.
In 2000, Jared dove into the Rio Grande, on the Texas/Mexico border. He woke up days later in a hospital 400 miles away. He’d broken his neck and injured his spinal cord.
Doctors said he’d be lucky to breathe on his own again. Walking? Best to forget about that. But the doctors underestimated him.
In the 13 years since the accident, Jared has been fighting his way back, starting with breathing on his own. Then months of rehabilitation. He returned to Austin, resumed his job as a copywriter at GSD&M. Became an accomplished painter using only his mouth. Got married. Had twins.
All the while he’s been fighting paralysis, and fighting the notion that he and others with spinal chord injuries will never walk again.
He’s become an advocate and activist by doing what he knows best – building brands – taking the skills he learned in the advertising world and applying them to his fight. He started with Will Walk www.willwalk.org, a foundation which uses art and film to create awareness about paralysis.
And he’s not doing it alone. He’s pulling in people from other areas of the industry to help him create and promote this “brand.” The Butler Bros., Marty and Adam, are longtime friends of Jared. They both had large-agency gigs but left ten years ago to explore more innovative ways to tell brand stories. www.thebutlerbros.com
They’ve applied their unique approach to a film that uses Jared’s story to encourage people to be more vocal about spinal injury research. See the trailer here: http://bbros.co/willwalk
Want to watch $275 Million get spent in 48 minutes? Just tune into CBS at 6:30 p.m. on Sunday to see one of America's greatest primetime displays of violence, debauchery and poor impulse control. And I'm not talking about the Super Bowl…
I'm talking about the Super Bowl ads.
In all seriousness, these days it's no surprise that independent research year after year continues to show that over half of U.S adult viewers plan to watch the Super Bowl as much, or more, for the ads than for the game itself. In fact, social listening measurement findings suggested that in 2012 64% of respondents said that half or more of their conversations online with respect to the Super Bowl were about the commercials themselves.
With the average investment of $4 Million on the line for a 30-second spot, it's no wonder why the CMOs of many of these advertisers are looking to squeeze their investment for every penny.
There are three standout trends that have continued to proliferate the Super Bowl ad space for the last several years (and by all accounts will continue even more in 2013).
01. Online Ad Preview and Teasers
Online Ad Previews and Teasers are becoming more of the norm. VW made the most famous splash last year with its Star Wars parodies that received over 56 Million hits after allwas said and done, largely in part to the pre-release of the spotson YouTube.
This year's early winner goes to the Kate Upton Mercedes spot, which in one week gained over 5 Million views (and counting).
Humbling news as, by this author's account, this is one of the more ridiculously off-brand spots I've ever seen. Given the fact that the CLA won't even be available for the next 7 months, the brand needs lasting impression and awareness. Regardless of the substance, it's clear that Mercedes knows the value of online traction and will do whatever it takes, no matter how low-brow, to get an early lead among its rivals.
Regarding the idea of Super Bowl teasers, the concept is simple,but the debate still rages on about whether or not the big reveal should be saved for the big game. While we don't promote a "one size fits all" approach to advertising, and I'm sure there are errors to the rule, it's hard to argue with the facts. Mashable reports, "According to YouTube's research, ads that ran online before the Super Bowl last year got 9 Million views, on average. Those that waited? 1.3 Million." With, on average, three times as many views online over broadcast, many could argue that the real winner in all of this is actually YouTube.
02. Ads for Social Democracy
Ads by social democracy are becoming more common in 2013. While Doritos pioneered the concept with their user-generated ads in the past few years, this year we are seeing a greater variety of the concept. For instance, one of the biggest brands in the world, Budweiser, has finally launched a Twitter account in itsname. The brand, which had a little more than 600 followers Monday morning, is using the account to promote its upcoming Super Bowl ad, which will feature a Clydesdale foal via their Twitter hashtag campaign. Pepsi is also using their site and Twitterto recruit some of their fans to strike a pose with their can before their half-time show.
But, the big pre-game winners in 2013 seem to be the "choose your own adventure" style ads from Audi and Coke. In what Audi says is a Super Bowl first, they recorded separate endings for their "Prom Night"commercial, and are compiling social votes where the audience chooses the ending. Coke created cokechase.comto tease their spots by highlighting three different sets of teams who are all racing to win a giant coke in the desert. The team with the most votes online will get their spot aired right after the game.
03. Second Screen
This year, more viewers than ever will be watching on a second screen. Now in real-time, technology allows brands to engage with the viewing public on their mobile phone or tablet during the event. For instance, Yahoo's Into_Now pioneered app technology that augments the second screen experience by using the unique audio digital signature in a television show topickup, and serve up, content directly related to that show. CBS estimates ad revenue alone from their second screen engagement to be between $10-$12 Million. Being able to interact with stats,player bios, team formations, highlights and social aspects is an essential part of any second screen approach for the sports enthusiast.
Regardless of all of the hype, a few certainties remain. The Super Bowl represents one of the highest risk: reward ratios in advertising. Because of this, marketers are getting smarter by using not only the right tools, but also the right content to get the consumer's attention. Disintermediation is taking effect and the consumer is finally starting to see large-scale control of and connection with their favorite brands. As our society gets more social and mobile, so does the advertising.
Needless to say, as an advertiser, I am thankful for the Super Bowl. If not for any other time during the year - the Super Bowl gives us an annual magnified window into the progress of advertising. With so much attention to the commercials, it almost makes me feel sorry for the guys on the field.
Yesterday a reader asked us "how do you get into advertising?", our knee jerk reaction was to ship them off to the nearest ad school for a year or so.
Then they told us more about their experiences to date and what a fascinating life they had lived. And as all of us forget from time to time, education is just a base foundation, life is what moulds you into an interesting creative person, ultimately making you more employable than the next guy or gal.
This trending video from Mondo Endruo below seemed an appropriate fit for this editorial.
But – and it’s a very important but – you have to do them because they not only provide the framework and inspiration for creative teams to start creating their magic, but they become a piece of historical reference on the brand that ensures people won’t post rationalise the execution and miss out all the little bits that made all the difference.
That said, the debate of what should and shouldn’t go in a brief still rages and I find that sad because at the end of the day:
+ You should never be a slave to the briefing format, the briefing format should always be a slave to you.
+ Different people like different levels of information so a ‘one size fits all’ mentality, is totally and utterly ridiculous.
+ A short brief shouldn’t be an excuse for ignoring the real issues that need to be addressed & conveyed.
+ A long brief shouldn’t be an excuse for not being clear, concise and interesting.
+ Regardless of what you are being asked to do, a brief should always be interesting, informative & inspiring.
Because of this, we have a few different briefing ‘formats’ here.
Some are designed for more junior guys to ensure they’ve done all the critical thinking necessary … some are designed for clients to ensure they give us what they need, rather than what they want … but all cover 6 critical questions.
1. WHAT IS THE GOAL
What is the end objective? I don’t mean the execution but the business result.
In short, if they say, “We want some TVC’s”, ask why and don’t stop till you get some real reasons with some real quantifiable goals.
2. WHAT IS THE BARRIER
What are the key issue/s that are stopping this from happening right now.
It might be people’s attitude and behaviour … it might be a competitors product or distribution.
Maybe it’s an issue with our brand or communication or even a product quality or lack of innovation story.
Whatever it is, find the fundamental issue and write it down.
3. WHO DO WE NEED TO TALK TO, TO CHANGE THIS?
Who do we need to engage in conversation? Who do we need to inspire, inform, push?
Don’t just write a bunch of stats or bland statements, explain how they think, live, worry, behave.
Let people feel the person not just read a bunch of cold, clinical bullet points.
4. WHY WILL THEY CARE
This is where blunt honesty is needed.
You can’t write this from the perspective of what the brand wants them to think, it has to come from the audiences mindset. If you’ve done your homework for the previous question, you’ll know the answer to this … and if you’ve done your homework well, you’ll know the answer is not going to be some marketing hype/bollocks, but something that satisfies a real need in their life – be it emotional, physical or mental.
5. SO WHAT’S OUR STRATEGY?
Detail the macro approach you are taking to achieve this brief. It should be short, precise and full of creative mischief.
ie: Deposition the key competitors as ‘old success’ by making XXX the badge for ‘new, entrepreneurial achievers’ … or something.
6. WHAT’S THE KEY POINT OF VIEW
Based on the goal, the barrier, the audience and the strategy – what is the brands point of view on the issue they need to address.
It should be something that is obviously based on truth but also full of tension and pragmatism.
ie: “You can’t change tomorrow if you don’t act today” … or some other z-grade sounding Yoda impression.
Don’t rush it. Take your time to really craft it because apart from needing to be relevant to the task in hand, it also serves as the creative ‘jump off point’ and if you’re going to help your colleagues do something that is powerful and interesting with it, you’ve got to ensure they really feel the tension and energy of what they can play with or play off.
You might ask why things like ‘tone of voice’ are not mentioned.
Well sometimes they are … sometimes they’re not … it depends on a number of factors, however at W+K, we place great importance on ‘brand voice’ so a few abstract words like ‘fun, upbeat & lively’ are not really going to cut it.
I should point out that how you brief your colleagues is another incredibly important part of the creative process.
If you give them a piece of paper and tell them to “read this”, you’re almost doomed before it’s even had a chance to begin.
While the brief should be inspiring on it’s own merits, it’s always good to think of ways to let your colleagues really understand what you are trying to get across.
That might mean you present it in a different location or environment to the office … that might mean you put them in situations where they can really feel what you’re trying to convey … that might mean you get interesting – yet relevant – people in to chat to them before you go through your hard work, but whatever you do, it’s always worth putting in that extra little bit of effort because it will genuinely pay dividends to the work that comes out the other side and that is ultimately what you’re going to be judged on.
At the end of the day it’s worth remembering there is no such thing as a perfect creative brief because ultimately, it’s about what you put on it – or how you present it – rather than what it looks like … however what I can say is that from my experience, as long as you have a culturally provocative point of view running all the way through it [obviously based on truth rather than 'marketing truth'] then you stand a much greater chance of creating something that affects culture rather than just adds to the blunt, advertising noise.
Let’s be blunt: NBC shit the bed in their Olympic coverage.
In this digital, social media age – when earthquakes are tweeted about before the Earth even finishes shaking – NBC made the unfathomable decision to broadcast events on tape delay in order to garner primetime ad dollars. Apparently NBC execs figured a few billion people could keep secrets until after dinner.
The funny thing is, even if a few billion people weren’t on Facebook, Tweeting, texting and blogging, NBC’s strategy was so stupid, they spoiled their OWN results. While the broadcast was holding back the biggest events into the evening, at practically every other commercial break, they were encouraging viewers to check out additional content on their Olympic website which… wait for it… showed headlines of results they had yet to broadcast.
Their Twitter and Facebook pages were no better. Before Americans got to see for themselves, the NBC Olympic Twitter stream had already blown the surprise of the Queen and James Bond parachuting into the arena.
NBC, you do understand how the internet works, right? (Rhetorical.)
But wait! There’s more! While you’re stuck trying to navigate a slow, horribly-designed, advertising-laden NBC site to see streaming events, 64 other countries get to view it live on YouTube for free. Afghanistan and Botswana get YouTube. You get McDonald’s ads to pay off NBC’s investment.
Because, you know, THAT’S the way to respond to social media criticism. There’s no way that strategy could backfire.
It sure seems like NBC’s entire strategy was “Let’s just say we’re streaming everything live!” without understanding how the viewer actually wants to engage with their content. Consumers have spent the past decade buying giant-ass HDTVs. Not everyone wants to be forced to their 10-inch iPad screen to watch events live. And certainly not everyone can stay completely away from Twitter, Facebook, and the rest of the internet long enough not to ruin the surprise before primetime.
Someday, the networks will come into the 21st century with a digital strategy that makes sense. Unfortunately for fans of the Olympics, that day isn’t in 2012.
When the world was introduced to desktop publishing thirty years ago, proper punctuation marks and kerning pairs were not brought to the party. Foot and inch marks were used instead, and they weren’t exactly the best stunt doubles. Today, I expected a more savvy designer pool with an arsenal of modern tools to rectify this problem. Nope.
Then again, should I expect such a giant leap in only a quarter century? After all, 200 A.D. saw the rise of woodblock printing, a practice that ran the show until 1476 when the printing press was born. It was an era where typography used to be a specialized occupation filled by highly skilled artisans. It should be no different today.
When your keyboard isn’t set up for smart quotes by using the foot and inch key, you can create the proper marks on an Apple keyboard by the following keystrokes. To kern using your keyboard, use Shift-Command combination with your bracket keys shown below.
Tip: Use a serif font punctuation on san-serif design for more pronounced typographic presence. San-serif punctuation marks tend to be lifeless.
Bad kerning (or tracking) is equally destroying design. It’s 2012. We should have enough computing power today to accurately plot any two letters together with good spacing between them. And yet, our design software still struggles with how to negotiate visually-appealing kerning pairs. I’ve noticed the worst infractions between upper and lower case letters. The Heinz example below has issues so obvious, it’s hard to imagine what designer, art director or creative director signed off on this. POUR ABLE MUST ARD. Really?
Tip: It’s ok to have letters crash into each other to create correct letter spacing. The R and A in pourable need to touch due to the negative space created by the slant of the A. The B had to move to the left slightly too to close-up the white space.
Dr. Pepper recently ran a national campaign with a blatant kerning error. That is, unless the 10 Bold T Asting Calories was the primary message.
Now, look at this “Professional Sign’s & Lettering” company mark (of all businesses). Yes, they did use the proper apostrophe over inch mark, even though it’s still grammatically off since chances are unlikely the company is owned by some guy named Sign. But all the points they scored were lost when they left a gaping hole between the n and s. But we can give extra credit for the use of Brush Script.
Tip: Reduce the size of your apostrophe and lower its relative position to characters in the word. This gives it a better lockup in the word. You don’t have to accept where your design program plots your punctuation.
If I had to just kern one thing on any piece of creative, I’d spend extra time with your headline—especially if your layout is type and/or copy driven. Because when your all-type headline layout looks good, it is your visual. Treat it that way.
Good typography isn’t always about where the computer places your 26 characters. It’s about how it looks, flows and feels to the reader. And that takes effort. Effort takes time. If you don’t have time for good typography, another line of work might be in order. Goat herding, perhaps?
The article is interesting, but I wonder if there is more at play here.
If you’ve ever gotten me liquored up, you may have heard me mention my belief that the internet is forming the foundation of what will eventually become the first artificial intelligence. Which is to say, I believe that someday, our collective activity online will reach the right density and type and the connections between us will become synapses. Somewhere in the digital aether a light will go on and a new kind of life will exist. The first self-aware machine, born of the wetware of a billion+ humans.
If you take this as a given (!), that we are all nodes in the network of a massive machine, then our move towards transparency begins to look more like system optimization on a cultural scale, encouraged through new memes and behaviors, as expressed in all sorts of unexpected ways, like Foursquare checkins, reality television and CEOs volunteering their failures.
A lie holds no information beyond what it says about the lie teller. An exaggeration stated in conversation does nothing but breed false expectations in the mind of listener. A great experience not shared is done so at the detriment of the collective. If my laptop was forced to run on the inefficiencies inherent to the day-to-day communication styles of a typical person, one full of nuance, assumption, and false starts, its processor would slow to a crawl and burn out altogether.
From the Next Web article:
I’ve literally stopped telling little white lies because it’s much easier to be honest. Instead of cancelling a meeting with a PR rep and using the excuse “I’m not feeling well,” I say, “I’m exhausted and taking tomorrow off to go to the beach!” because I know I’ll likely take a picture of my beach trip on Instagram and wouldn’t want to get caught in a lie. And you know what? Most of the time they just say, “Have a great time!”
As a society, we’ve had 10,000 years to choose to be open and honest with each other, and we have generally chosen not to. But now we’re at a point where new technology plays a critical role in our lives, and technology has no use for our half-truths and doublespeak. They are disruptions in the flow of information. As we are all becoming parts of the machine, our relationships with each other are being ground down to purer, more efficient forms so that they can be put to better use.
We are becoming more honest because it increases the speed at which information can travel. We are becoming less private because to withhold valuable knowledge from the rest of the network is to act selfishly. We are becoming more transparent because that is what the evolution of technology asks of us.
Up until the last minute, I was convinced that this TV spot was anti-neutering. I was convinced that the thought process was, "Why the hell would I neuter my child? So... I shouldn't neuter my kitten?"
Although it’s old news by now, Tupac made a comeback this past Sunday at Coachella. His entire persona was recreated using old-school technology, baffling the hundreds of intoxicated fans who couldn’t believe the fake death rumors were actually true. Most of us have seen the videos and read the facts, but now it’s time for a healthy discussion.
It seems that times have changed. Pop stars these days are bred to make lots of money as quickly as possible. This means shorter appearances for larger crowds, remakes of old classics and an uncanny ability to sound damn near perfect on their albums. Very few mainstream musicians can perform to the masses without lip-syncing and taking multiple breaks. If deceased music icons become more present in the next few years, will the living performers need to step up their game? Will the music industry finally recover from all the beatings if people want to pay more to experience what a Jimmy Hendrix show really felt like?
Okay in case you missed Tupac… here’s the best, unrestricted clip of it. Read more about the details at The Daily Beast.
Casper Collins is our newest (ghost)writer for the Atlanta Egotist. With a background in Art Direction and foreground in Awesomeness, Casper brings a new level of transparency and illusion to our little family. Keep your eyes peeled for more articles to come. Please feel free to email Casper at Atlanta@TheEgotist.com.