Damn good advice (for people with talent)
By George Lois
It’s not how good you are, it’s how good you want to be
By Paul Arden

I bundled these two books together because they explore very similar themes. Both provide an excellent dose of therapy for any professional creative regardless of your background or level of experience. Both contain largely advice and insights you’ll probably instinctively know already (or should know) but it is a real tonic to see it written down in black and white and illustrated with inspirational anecdotes from George Lois and Paul Arden’s illustrious careers.
Here are three themes that run through both books that should provoke thought:

1. The power of failure
The importance of taking risks and the freedom to fail is vital for those in pursuit of any creative excellence. Paul tells us by losing the fear of being seen to be ‘wrong’ in the eyes of perceived wisdom is the way to genuine free creative thought. People who think in the ‘right‘ way are simply trapped by their own past experiences. In fact, Paul is clear about the very real danger to your career if you don’t fail enough!

“Fail, fail again, fail better.” Samuel Beckett.
Both books feature this quote.

2. There is no “i” in Team (But there sure is an “i” in Creative)
Great ideas usually come from just one or two inspired people in a project team (rarely more). Once the brilliant ‘big idea’ exists, George tells us to gather our strength and quickly reject ‘Analysis Paralysis’ and ‘Group Grope’ (lovely phrasing). It will only blur the creative vision. The rest of the project team is there to sell the idea and help roll it out. This may sound like harsh words if you’re feeling lost in the ‘team.’ If so, go and sell your own ideas to the powers that be. I doubt anyone is really stopping you.

3. Atomic levels of creative energy!
Two quotes from the big men themselves regarding this
“To sell work I could be proud of, I’ve had to rant, rave, threaten, shove, push, cajole, persuade, wheedle, exaggerate, flatter, manipulate, be obnoxious, be loud, occasionally lie, and always sell, passionately!”
Abraham Lincoln once said: “When I hear a man preach, I like to see him act as if he were fighting bees”. To be a successful creative, be prepared for a lifetime fighting bees (even if you sometimes get stung)
George Lois

“Energy – Its 75% of the job. If you haven’t got it, be nice.”
Paul Arden

Complete Prose
By Woody Allen

Woody Allen is like Marmite. You either love the rich meaty dense flavour or you just hate the stuff. Over recent years, what with his complicated love life and one too many movies that should have stayed in the writer’s bottom drawer, many people I guess are of the latter opinion. Not me though. I love the guy.

This book reminds me of the genius that was. It is nothing more than jottings and scribbling presumably “knocked out’ between major film and writing projects. Crumbs from the table really. But there are nearly 500 pages of crumbs here that demonstrate and showcase an unstoppable virtuoso humorist at work. Who else could make the laundry list of an obscure (fictional) 19th century German Writer laugh out loud funny? Who else could imagine Vincent van Gogh expressing his art through, not painting, but dentistry? Only Woody, I think.

The Outsider
By Albert Camus

Algeria’s most famous goalkeeper and Nobel Prize-winning author, Albert Camus, knocked it out of the park with this slim little volume that packs a big punch. The book’s anti-hero, Meursault, is a very average man with an uneventful life until he, rather misguidedly, tried to help a friend seek revenge. This gets Meursault into serious trouble with the authorities. He seeks salvation not through expected ways but by the indifferent pursuit of absolute honesty about himself and how he sees and feels about the world.

Honesty is, of course, a vital part of any successful creative process, which may partly explain why this book is such a touchstone for so many artists and writers. George and Paul from the previous books talk about honesty (in its various forms) a lot.

As a postscript, Meursault’s honesty, unsurprisingly, just winds up getting him deeper and deeper into trouble with just about everyone in his life, especially the authorities.

But who says being honest was easy!
 
James Wood
Creative director

So often, during a branding exercise, I hear clients being more interested to see the logo when compared to other key aspects of a brand, which can be a well-formulated positioning statement, a compelling tagline, a name that commands action, a well-crafted typeface, a persuasive message and so forth.

Is a logo really the most important brand element? Is it really worthy of all the limelight (remember the controversial London 2012 Olympic logo!) it draws?

The answer is no!

In order to appreciate the role of the logo, it is critical to understand how a ‘brand’ is defined. In simple words, it is a perception that an organisation holds in the minds of the people. And the perception that we form of a brand, comprises of many different interactions that occur at many different levels, across many different senses. In fact, some of the greatest brands use multiple senses to build a distinct perception – not limiting them just to sight and hearing but extending it to smell, touch and even taste. Of course, the logo shape, it’s construction, it’s representation help consumers to associate the brand with specific attributes, but so do colours, fonts, the tone of voice, images, packaging and customer service to name a few.

Many define the logo as the face of the brand or a signature that functions as a promise or see it as a primary brand identifier. Although all the above interpretations are true, the more simplified and a more appropriate way to understand a logo is to see it as a brand identifier, however, along with all the other brand elements.

A good brand normally has one or two primary identifiers and a few secondary identifiers. Coca-Cola’s unique red colour stands as its most dominant identifier and it’s script font probably is the second most recognisable identifier. This holds true, as recently, as part of a campaign, the brand dropped its logo to pave the way for popular names of the people on its packaging, however, retained the brand colour. If one day, Coca-Cola decides to lose its signature red, would people still identify the brand? Mostly certainly not.
 

By approaching the logo as an identifier amongst a set of other brand identifiers, brands can be more imaginative, inspire more creativity and establish brand expressions that find differentiation in today’s very cluttered marketplace.

Let me put it in context through examples of brands that managed to challenge the status-quo:

Absolut Vodka
What comes to your mind when you think of Absolut? Is it their logo? I doubt that’s the case. Absolut’s primary identifier has been it’s unique and timeless packaging. It is considered that an 18th-century medicine flask found in an antique store in Stockholm gave inspiration to the iconic Absolut Vodka bottle. How cool is that?
Primary Identifier – Packaging
 

Muji
Let me make it tougher! What stands out when you think of Muji? Logo, Colours, Fonts? Service? In the world, where brands don’t cease to adorn their visual expression with graphics and frills, MUJI played it completely opposite. Inspired by simplicity, functionality and minimalism, it is MUJI’s distinct product design language that helps identify the brand. It is perhaps the only brand in the world that does not use its logo on any products.
Primary Identifier – Design language
 

Cadbury
While growing up in India, Cadbury for me, and for many others, was synonymous with chocolate and so was its signature purple packaging. Although its logo and the ‘glass and a half’ graphic are an important part of its visual expression, by far, the colour is the most sacred visual identifier. It would be a complete brand disconnect, if one day, Cadbury decided to turn red or orange.
Primary Identifier – Colour
 

The above brands explored a variety of visual elements to create differentiation, however, remained within the limits of visual expression. A number of brands such as Innocent and Old Spice created a distinct identification by emphasising on elements of verbal expression such as the Messaging and the Tone of Voice. And many hospitality brands are uniquely identified by the fragrance and scents they use to enrich their guest experience.

In today’s globalised world, where brands have to compete across markets, it is becoming more and more challenging to establish a brand identity that captivates its audience.

As they say, every challenge is an opportunity in disguise. Indeed the opportunity is immense. Yes, a logo is important, but it holds a limited ability to express emotion and convey meaning. There is an array of possibilities, and space for immense creativity and innovation, if, the brands, marketers and designers can push harder to think different, and think beyond the logo.
 
Rohit Banka
Strategy & Business Development Manager
 

Why?

Well there is your answer. It demands attention, it courts a response, it leads to enlightenment.

Children use it all the time in their formative years as they begin to engage with their surroundings and their incessant inquisitiveness is the foundation of their hunger for knowledge.
Why is the sky blue?
Why do I have to go to bed now?
Why do I have to smile in photos?
Why can’t I stick a fork in a plug socket?
Questions, questions, questions…

In the branding and advertising business, this innate curiousness is something that we need to tap into. Too often, we hear clients’ requests/statements/ideologies that need deeper analysis. They should be challenged, as without this we simply become vessels for channelling someone else’s unquestioned (and possibly questionable) requirements.

Why is your customer service so much better than everyone else?
Why do you think launching this product in summer is the right time?
Why do you want to reposition your brand?
Why do you want to stick a fork in a plug socket?

Asking questions leads to a better understanding, obviously. You’d be surprised that some prospective clients I’ve encountered at the pitch level have taken umbrage with being asked questions. It generally leads to a conversation that follows the lines of: a) No other agency is asking questions (b) I don’t have the time to answer these (c) Can’t you just answer my ‘brief’?

It’s often these people who didn’t really question themselves hard enough about the fork, and no good will come from working with them.

And asking ‘Why?’ shouldn’t just be for clients it’s an internal tool too.
Why should the creative team be enthused by this brief?
Why will people want to look at this communication?
Why would the target audience be inspired to take action after seeing this creative?
Why does that fork look like it belongs in a plug socket?

Why should you try to unearth more information and develop greater insights in everything you do?

Why not?

David Wright
Managing Director

My first pick is the tagline from the Under Armour ‘Rule Yourself’ brand campaign, a moving television commercial that pays tribute to the ‘Poseidon’ of our times Michael Phelps, in honour of the last season of his career. Being a proponent of truth, especially in the field of marketing, I believe the future belongs to the brands that contribute towards the improvement of the human condition, and this line does just that, it reminds us of a timeliness and universal truth: “It’s what you do in the dark, that puts you in the light.”

The headlines in the compendium below edge on the satirical, with Dos Equis’ most interesting man in the world, a modern age prophet that has amassed a cult-like following so massive, a vaccine was created to cure the Internet from his charm.

• When it is raining, it is because he is thinking about something sad.
• The police often question him, just because they find him interesting.
• He once had an awkward moment, just to see how it feels.
• His reputation is expanding, faster than the universe.
• His personality is so magnetic, he is unable to carry credit cards.
• Even his enemies list him as their emergency contact number.
• He could disarm you with his looks or his hands, either way.
• He’s a lover not a fighter. But he’s also a fighter, so don’t get any ideas.
• People hang on his every word, even the prepositions.
• He can speak French, in Russian.
• Every time he goes for a swim, dolphins appear.
• If he were to give you directions, you’d never get lost, and you’d arrive at least 5 minutes early.

In closing, I would like to end with one last advertising headline that reminds us all that true luxury is understated.
“You never actually own a Patec Philippe, you merely hold on to it until the next generation.”

And of course, “Stay thirsty, my friends”!

Philippe A.
Client Services Director

Here’s three inspiring books that I enjoy dipping into once in a while for some insight and inspiration.

One Plus One Equals Three
by Dave Trott

Mr Trott, by all accounts, is a challenging individual to work for but clearly worth the grief based on this brilliant compendium of his own articles and blogs. There are many wonderful stories and insights to draw inspiration from but one of my favourites is the tale of the American street beggar who places nine bowls in front of himself every morning. Each cup is clearly labelled with a major belief system and an invitation to donate based on your level compassion for the homeless. Dave surmises that the beggar, by cleverly playing one belief system off another for charitable displays generosity, demonstrated a natural flair for marketing strategy that would put most of us to shame. So which belief system is the most generous? Read the book and find out. The answer may surprise you!

3,800 Early Advertising Cuts: Deberny Type Foundry
by Carol Belanger Grafton

A weird and wonderful collection of 19th and early 20th century royalty-free commercial woodcuts that, with a little imagination, can still have some surprisingly contemporary and fresh looking applications.

I recently dusted off my copy to inject some retro-hipster personality into the Grapeskin Wine bar branding for La Ville Hotel & Suites CITY WALK Dubai, which is part of the Marriott group. The resultant brand identity won Gold in this year’s Creativity International Awards! Cheers!

As a postscript, some of our creative brethren hailing from London may fondly remember The Dover Bookshop, located on Denmark Street, London’s answer to Tin Pan Alley. Back in the day, it was an Aladdin’s cave of retro and historic royalty-free illustrations, graphics and typography, and an invaluable resource for any budding creative. Sadly the shop is now gone but many of the books are still available online.

A Brief History Of Time
by Professor Stephen Hawking

Readers of my previous blog articles will know I have a ‘thing’ for cosmology and mind-bending physics. I blame it on the BBC’s ‘The Sky at Night’ presented by Sir Patrick Moore; Carl Sagan’s ‘The Cosmos’ (essential TV viewing as a child); and this guy – Professor Stephen Hawking and his book ‘A Brief History of Time’. Although Professor Hawking tells us intelligence can be over-rated for long-term survival, I think there is something comforting knowing humans can be this brainy. Professor Hawking’s ability to communicate the most complex and challenging concepts in user-friendly reading material for the layman is truly inspiring and (bearing in mind his health status) unsurpassed.

Also, let’s remember too, as branding and advertising professionals that is is exactly what we aim to do every day – distil highly complex (or just confusing) client briefs into simple, memorable messages that everyday people will act on but that don’t lose any of the original meaning.

James Wood
Creative Director