Archive for the ‘advertising’ tag

awwwwww…

via one of my favorite blogs. scamp

a new day

I have just had my first day at my new home, Kolle Rebbe.
They are one of the best agencies in Germany and I’m glad they are giving me a shot at doing some great stuff for them.
They’ve done some amazing work in the past so be sure to check out their site.
This means that I’ll be posting a little less frequent. Wish me luck.

career builder tips

There is always a huge buildup to the Super Bowl over in America. More people seem to be interested in the ads than the actual game. Don’t blame them. American Football is boring.
Anyways… have watched a couple of those ads now and I simply loved this ad by Wieden & Kennedy. (Maybe I’m a little over-excited after having seen half-a-dozen annoying Budweiser ads)

shelter - house of cards

Great ad and excellent use of music.
via I Believe in Advertising
making of at YouTube

Client: Shelter
Advertising Agency: Leo Burnett, London, United Kingdom
Creative Director: Jonathan Burley
Art Directors: Richard Brim, Jay Hunt
Copywriters: Daniel Fisher, Pete Gosselin
Production Company: Outsider, London
Directors: Dom and Nic
Post-Production: Framestore
Music: “Videotape” by Radiohead
Voiceover: Samantha Morton
Sound: Grand Central

work hard and play nice

_
I had several partners that I worked with during my time in London. Some only for a few days, some for longer.
You are looking for a person that drives you creatively, that challenges you to do better.
One partner I had, seemed to be that person. He had drive and a good book. We started working and quickly came up with several solid ideas. We went to bookcrits that went quite well but, as so often when you have just teamed up, it didn’t turn into placements straight away.
Work was still ahead of us, a lot of it.
I can’t really remember how long we had worked as a team. I think it must have been two or three months.
One day I wasn’t able to get hold of him. Same thing the next day and the day after.
Sent him an email, no reply. After several days he finally got in touch and explained that us not having been able to secure a placement was eating away at his confidence and that he needed a time-out. Effectively that ended our partnership but he proposed to take out the things we’d worked on together or compiled from each others books. I agreed.
The end to our partnership came at a bad time because we’d been offered a placement at an agency. Fortunately the agency said it was okay for me to do it alone.
Weeks later I found out through friends of mine that he’d attended a portfolio exhibition with CDs from several agencies. With his book he secured a job.
The problem was that, despite our agreement, he had displayed a practically unchanged portfolio. That made me quite angry but that wasn’t the end of it.
He had also told people I know, that he had stopped working with me because he felt that I was slowing him down and that I wasn’t as creative as he was. And herein lies the problem. The advertising world is a small one.
He got a job at an agency at which he didn’t stay for very long. He claimed he had been poached by another.
Through coincidence I met someone who worked at his first agency. That person said that he got fired. Not because of lay-offs or politics but because he wasn’t a very pleasant person and twisted the truth. I already noticed this tendency while working with him. One example was that he’d tried to persuade me to lie at book crits about us having job offers and the likes.
He’s still at that new agency Not sure how well he’s doing but since he is quite talented he’ll continue to work in advertising.
The question is at what cost.

destroying property

_
A random story that I thought I might share. It also concerns Graham Fink (CD at M&C Saatchi, London) and a rather awkward book crit I had about two years ago.
First off, I was pretty nervous. After all, he is one of the most well-known creatives in London and commands a great deal of respect.
Having never seen or spoken to him before I didn’t know what to expect. We (my partner back then and I) waited patiently in the foyer and were called up when he was ready.
His office is one of those typical glass cubicals with a nice view you’d expect from a Creative Director of a large agency. The desk was cluttered as was pretty much everything else in his office. On one side stood a large bookcase reaching up to the ceiling.
The first thing I noticed was, that there weren’t any annuals or any other books related to advertising as far as I could tell. Lots of books on photography, film, art and so forth.
He greeted us kindly, shook our hands and asked for us to come in and have a seat. There were two chairs. The one, which my partner sat on, was a conference room chair and I sat down in a director chair.
Not just any director chair. HIS director chair. You see, Graham Fink also directed many spots as well as music videos and a BAFTA shortlisted film.
After short introductions from us both I felt a little more at ease and decided to lean back a little.
SNAP.
One of the beams on the backrest snapped at the joint. At this point I believe I should mention that I weigh about 70kg at 1.85cm. Not a lot. Graham, I guess, measures at least 1.92. Don’t ask me how but that bloody chair broke.
The silence was deafening.
The only thing I was able to utter was an apology and that it could be fixed with wood glue. I don’t think he really cared about either.

the good, the bad and the ugly - an observation on getting a job in hamburg and london

Getting your first gig in advertising is a challenging full-time job. At least in the U.K. Having spent three years there and now having returned to Hamburg puts everything into perspective.
The differences are numerous. Some things are better in Germany, others are better in London.
The first trouble one runs into in London is that one needs a partner to start off. A bit of a problem when you have no contacts and no clue when you arrive.
In general, getting your first job in Germany is pretty straight-forward. You graduate, you apply, you get an interview. Then you’ll be told you get a job. At least most of the time and providing you haven’t made yourself look like an idiot.
Then you are taught within the agency. Not as a creative… but as a graphic designer (I’m an Art Director, so no idea how it works on the CW side).
After you’ve done some years pushing pixels and following orders you might get a shot at actually doing something creative, solving briefs and all that.

In London you find a partner, constantly work on your book, have it torn apart, work some more on your book, go to a lot of placements and eventually you might be given a shot and offered a job. Average time spent: about two to three years.

There are pros and cons for both approaches.

Let’s start with the obvious. Getting a job goes quickly in Germany, a good thing. Not having to look for a brainstorm counterpart as well. Agencies generally reply fast and tell you if they have a job or not, also very good.
From an Art Directors point of view it does however cause a few problems.
You are sentenced to two years Photoshop and Co.
The problem lies, in my opinion, with ad schools. They are not sufficient and more often than not go for style over substance. You may have cracking skills on a Mac but no idea how to develop a strategy, a big idea. Generally you solve problems by doing a ‘funny visual pun’ or a quirky line.
This is different in the U.K.
The universities are slightly better and you find a creative partner that you work with quite well, something you’ll need anyway at some point.
The real learning process begins once you’ve graduated.
Doing book rounds means you get the insight and wisdom (at least one hopes) from some of the best creatives in the industry.
Then you take what you’ve learned back to the drawing board and start from scratch. This means that you are strategically sound and perfectly capable of coming up with great ideas once you’ve signed a contract.
But most of the time you’re flying blind. They may offer you a placement but that doesn’t mean you’ll be offered a job. What really annoyed me is trying to get hold of someone in an agency. They hardly ever pick up their phones and a thousand obstacles are put in your way until you get to speak with someone important.
No one REALLY tells you the truth either.
As Graham Fink (CD of M&C Saatchi) once said to me: ‘It’s not really about being creative, it’s about being persistent’. I think that really says it.

U.K.

Pro’s:

- strategic thinking, big ideas
- you’re ready for everything they throw at you
- you’ve got a partner you work well with
- great contacts through book crits
- if you’ve made it in London you’ll make it anywhere

Con’s:

- no job, no money
- 2 - 3 years before you get your first job
- annoying answering machines and dead phone lines
- no one REALLY tells you the truth

Germany

Pro’s:

- takes a few weeks to get a job
- everyone’s straight-forward
- no partner needed for first job (helpful when you’re from overseas)

Con’s:

- you’re condemned to pushing pixels for 2 years (AD)
- education is poor unless you teach yourself
- no partner

At least that’s what I’ve learned so far. Maybe someone has something to add.
Also, it’ll be great to find out how it works in other countries.

Helpful when you get to London: Nabs
Helpful when you get to Hamburg: research and Designerdock

state of the nation

I’m no authority on advertising nor have I enjoyed a long and prosperous career as of yet. Nevertheless I will now and again utter a few thoughts on advertising and it’s implications.
After all… that’s what a blog is for, isn’t it?

As I’ve mentioned in several posts before, including the preceding one, I’ve just returned to Hamburg after having lived in London for three years.
Having spent some time contacting agencies and going to several interviews, I think now is the time for a little recap. A kind of ’state of the nation’ on advertising in Germany.
The fact of the matter is that the global downturn has reached every facet of the economy.
Most agencies are, to be honest, panicking.
Some with good reason.
As a global CD of a network (not Tribal DDB) has just recently told me: ‘The agencies who’s main client is a car manufacturer are having trouble’. Hence no job for me there. Interest yes… but as I’ve discovered with most, they’re very cautious and wary of hiring anyone.
The difference to London is, that agencies are pretty straight-forward here. Unless they’re really interested they’ll tell you that they’re not looking.
Something that is a great time saver and would have been worth it’s weight in gold in London.
Nevertheless it’s not all bad news. Some agencies are reporting growth despite the gloom.
There are two things these agencies have in common.
They are growing naturally, dynamically and at a steady pace unlike some that have grown too fast and are now imploding under their own weight.
The second being that they are full-service. They offer the entire spectrum. I suppose that clients are feeling more inclined to consolidate in hard times rather than try out a new agency. Makes sense.
You might be thinking that online is a safe bet. It doesn’t seem that way. At least in Germany.

Well, hold you’re thumbs that someone will see potential in me and that all that negative talk won’t take effect on my search.

rage

Since arriving back in Hamburg I’ve been quite busy. Contacting agencies, going to interviews and getting a feel for the advertising landscape in Germany.

It’s one of those essential things one does I suppose. Trying to find the best agencies in town, figuring out where the best people and clients are… essentially finding the place you’d want to work at.

The web is a great place to start but I also bought a copy of Page Magazine. It’s the equivalent to Campaign in the U.K. or AdAge in the States.
The cover stated ‘Big Ideas. Develop and execute strong ideas.’
So far so good.
Too be honest… I hadn’t read Page in over three years. I’ve only ever bought one issue.
Back then it was similar to Campaign. Biased, boring and irrelevant.
Throwing away my preconceptions I kept an open mind and gave Page another shot.
After all… after three years in absence something might have changed.
Not really.
The main article ‘Big Ideas’ is a compilation of things so obvious that I wondered who Page was targeting. Surely not a person in a creative position? Maybe students?
A fine example is this (translated from German):
‘The simpler the problem is formulated, the easier it’ll be to find an answer.’
All good and true but for a magazine, that hails itself as the most important publication for advertising and design, it’s a rather daft and obvious thing to say.
What gets me is the subtitle to this forward-thinking piece of gibberish.
‘What makes an idea big and how does one defend it against critics. Page shows you strategies that help you creatively and projects where big ideas have been executed successfully.’
They have set themselves three goals, achieving only the last… examples.
After 2 pages I was bored. Flicking through the rest of the magazine didn’t help either.
If you happen to be in Germany… do the same people do in the U.K.
Never buy Campaign, flick through it in a foyer of an agency of your choice.
Then at least it’s free.

Page Magazine

trust me

A new show from the creators of Nip/Tuck. It’s about advertising. But instead of it being set in the golden age like Mad Men, which frankly I got bored of after 4 episodes, it’s based in the present.
Maybe it’ll be more interesting. Here’s the official site.

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