Category Archives: Art Direction

All the Things

Motion Designer Chris Guyot worked with 3D Designer Paul McMahon (‘The Rusted Pixel’) on this bizarre and colourful animation. ‘All The Things’ is a “collection of individual narratives, unified by a cohesive style.” It’s interesting to read about the concept behind each narrative, but even without any back story I like the random compilation of scenes.

The full creative process can be viewed here on Behance.

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D&AD Identity 2017: The Beautiful Meme

Agency ‘The Beautiful Meme’ have been commissioned by D&AD again to design the creative for the 2017 D&AD Festival. The iconic D&AD Pencils have been animated alongside textures, designed to individually represent the award levels or categories from the D&AD Professional Awards.

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Ben Haworth, Creative Director says:

In advertising and design the D&AD pencil, the symbol of excellence, is ever-present. Around it the industry is weft and warp and flux. Nothing stays still and that’s as it should be. That’s what this year’s identity is about.

This amalgamation of 3D, geometry and motion design is proving to be a very popular design trend, and this has to be my favourite identity for D&AD to date. I particularly love the black Pencil above as it’s using just one colour (bar the yellow D&AD logo), which also happens to be my favourite colour… Also, the animation reflects the popular gif culture that has taken over the art and design world, with the designs working well as both statics and animations.

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Spotlight: Artist James Joyce

10 days after the US election, artist James Joyce created this cover for French magazine ‘Le magazine du Monde’. The magazine itself has some fantastic covers and images on their instagram, and Joyce has also created some incredible work. Joyce’s recognisable work includes the use of a variety of media including painting, drawing, moving image and screen-printed editions. His most recognisable work being ‘Dismaland’, commissioned by Banksy, which included a video installation that then turned into the cover image for the programme.

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The style of Joyce’s work for Dismaland has translated into the cover below, following his iconic style of bright, iconic shapes and striking compositions. His work has been featured in a tone of exhibitions and curated by brands like Apple, Nike, BBC, The Guardian, The New York Times.

Joyce has perfectly encapsulated the consequences of Trump’s presidency. I think other than the composition itself, the fact that no images of Trump himself were used, yet the message is so easily translatable to all languages, speaks volumes.

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Guinness (St Patrick’s Day): Iris & mcbess

St Patrick’s Day (Friday March 17th) is just around the corner, so ad agency Iris have teamed up with esteemed artist and illustrator mcbess to create a series of illustrations for their client Guinness.

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Featuring the line “Let’s Get Together”, mcbess has created characters enjoying the iconic drink, surrounded by numerous recognisable previous brand references such as the toucan (below), surfers and ‘sapeurs’ (AMV BBDO).

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Although mcbess is a hugely talented artist, and a favourite of mine, I can’t see past the TfL ads which have dominated the London Underground and therefore remained associated to TfL in my mind:

However, it’s certainly proved beneficial for mcbess that his work is instantly recognisable, due to the monochrome and complicated personal style, which has caught the attention of other brads like Nike, Converse and Jack Daniels.

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Spotlight: Daniel Arsham

Contemporary artist Daniel Arsham has created some fantastic and very popular work, but one project has caught my eye. ‘Future Relics’ features a series of fossilised contemporary items such as cameras, Walkmans, phones, furniture and clothing. Based on Arsham’s theory that mundane objects will soon become completely obsolete, he created “future versions” of objects, cast in white ash and other materials like glacial rock dust, ground volcanic glass, hydrostone, rose quartz, and steel. To create the crystallised objects, Arsham casts a mould of the object; crushed calcite is then pressed into the moulds with a binding agent, and if wax is added to the mould in certain areas, it causes those parts to not bind. The effect is amazing…

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Things we associate with the present, as if they were crystallised over millennia.

Arsham created over 3000 pieces for exhibitions including ‘The Future is Always Now’ and ‘Remember the Future’ alongside a film series, focusing on a world many years down the line, in which a major and transformative ecological shift has occurred.
Arsham collected a tone of objects for this project, mainly from eBay! He has said that he started to think of eBay as a “bizarre Library of Alexandria”, but these mundane objects weren’t all Arsham used for fossilisation. Visit his website or his instagram to see more stunning images:

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They are so bizarrely satisfying to look at.

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ANZ: #HoldTight

In the lead up to the Sydney Gay and Lesbian Mardi Gras and Auckland Pride Festival, ANZ bank have released a campaign specifically focusing on LGBTQI couples and their reluctance to hold hands in public. Agencies TBWA Melbourne and TBWA Auckland aimed to highlight this problem and encourage people across New Zealand and Australia, and beyond, to show their support.
The campaign is based on research commissioned by ANZ which discovered that members of the LGBTIQ community were three times more likely (39%) to feel uncomfortable holding hands in public. In Australia, they are more than twice as likely (52%) than non-LGBTI (14%) to have felt uncomfortable performing the most basic gesture of love: holding hands in public. Also, while the vast majority of New Zealanders (95%) agree that everyone, regardless of their sexual orientation or gender identity, should feel comfortable holding hands in public, less than half of the LGBTI community (39%) truly feel comfortable doing so. Similarly, in Australia, 94% of people support everyone feeling comfortable with this show of affection, but only (43%) actually say they feel very comfortable. What a sad reality, and something we all definitely take for granted.

As part of a broader social campaign, in collaboration with Twitter, a custom emoji was developed alongside the hashtag #HoldTight. The campaign launched the ad (above) accompanied by stories told by ANZ staff:

Additionally, they also developed a limited edition custom wristband (featuring the same heart-shaped emoji hands), which will light up when people hold hands. The wristbands will be worn by attendees at the Sydney Gay and Lesbian Mardi Gras and Auckland Pride Festival:

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Carolyn Bendall, head of marketing at ANZ said:

ANZ is using #HoldTight as a platform to share an important message about diversity, inclusion and respect and to help people understand the challenges that many members of the LGBTIQ community face. We hope to make a difference by encouraging the wider public to join in the conversation and show their support.

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Vicious Cycle

Vicious Cycle by Michael Marczewski features a group of robots performing a range of repetitive functions. Driven by mechanical devices, the machines speed up and the robots struggle to cope. Aside from the bizarre and mesmerizing animation, I love the colours and typeface Michael used for this animation!
You can watch the making of here.

Of course Michael works as a motion designer at ManvsMachine! What a guy.

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Four Years: It’s A 10 Hair Care

There was so much shade at the Super Bowl! The line “America, we’re in for at least 4 years of awful hair. So it’s up to you to do your part by making up for it with great hair” takes a hilarious dig and the President’s bizarre quiff. Created by Havas Edge for It’s A 10 Hair Care (weird name by the way…).

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Audi: Drive Progress

Progress is in every decision we make, every technology we invent, every vehicle we build. It’s our past, our future, our reason to exist. Audi of America is committed to equal pay for equal work. A 2016 report by the U.S. Congress Joint Economic Committee found that women were paid 21% less than men on average.*

Audi is know for its storytelling adds, and this Super Bowl ad by Venables Bell & Partners didn’t disappoint. It’s always interesting when a brand takes a political stance, especially when it’s hard to work out whether the message is genuine or just jumping on the back on a current political issue. I like it, and I think it’s important for brands to make their political views public, so that the consumers know what they are putting their money towards.

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Advertising and Gay Men: How the Media Avoids Gay Intimacy in Advertising

One of the most beautiful and important things about working in the creative industry, whether it’s photography; graphic design; music; dance; acting; writing, is that it allows people of any background, gender, race, sexuality, age to express their opinions and beliefs in whatever medium they wish. The creative industry is at the forefront of self expression and freedom, which has always encouraged and inspired me to pursue a career in this field. Advertising in particular is, as we know, incredibly influential – whether you enjoy ads or just stare blankly during the commercial breaks – they can help convey messages to a wider audience.
Although I am part of British advertising, and we have produced some incredible and iconic work that is undoubtedly timeless, ever since I can remember having an interest in the industry I have been unable to shake off one very obvious tactic used by agencies: appearing pro-LGBT, but avoiding gay men. Obviously, showing gay couples in ads is a very recent (and important) thing, but as equality has progressed so rapidly in the last 10 years I have found myself questioning why the media prefers using lesbian characters over gay men.

Last night I watched a bizarre (but fascinating) documentary ‘For The Bible Tells Me So’, which documents the ways in which conservative Christians have exploited religious teachings and scriptures to deny LGBTQ+ rights. Without spoiling too much, one factor which stood out like a sore thumb was the fact that the parents (of gay children) being interviewed all expressed fears of having a “faggot son” (they said those exact words), even if the story ended up focusing around their lesbian daughter. There was a continual theme of obsessing over the fear of a gay son. As we all know, homophobic beliefs all stem from religion, and their target is 9 times out of 10 going to be gay men.
Why?! Well, as the husbands in these documentaries (and in most religious and/or homophobic households) have the final say on what goes, men generally have more discomfort towards gay men than lesbians. It all stems from a fear that gay men will try to have sex with them (don’t flatter yourself) or influence their sons’ ‘sexual behaviour’. It probably also relates to the fact that mentions of sexuality in the Bible only relate to men sleeping with other men. Lesbianism became publicly demonised during the Victorian era.
I have no idea why gay men seem to receive more homophobic abuse (I know, that is a sweeping statement), and this is particularly evident in the homophobic slurs used – I can name only a few related to lesbians, but gay insults based on gay men are endless. There is a fear and disgust surrounding gay sex, whereas lesbians are often used as part of the male sexual fantasy. Funnily enough, I always wonder whether these religious homophobes get off on girl-on-girl fantasies but heaven forbid two men together! Gross!

[Before I get into the advertising part of this blog, I want to say that I am by no means denying or deflecting homophobia against lesbians, nor am I insinuating that gay or queer women receive less discrimination than gay or queer men. These are merely my observations about the representation of gay men in advertising].

So what the hell does this have to do with advertising? I believe it all stems from the same place – whilst companies, agencies and brands are largely trying to be inclusive by introducing LGBT narratives, the avoidance of male couples is remarkably salient in advertising.
In the US (certain states, of course, we couldn’t have two guys in love being aired in Texas now could we) the depiction of a range of LGBT couples has been, overall, fantastic in comparison to what it was like as recently as 5 years ago. This is particularly amazing for gay men who seem to have an equal platform in terms of narrative to lesbian couples or female same-sex families. Certain states in the US are notorious for being openly pro-LGBT and have no qualms when it comes to presenting gay men in their commercials. A lovely example of this is cosmetics company Lush who recently launched a Valentines Day campaign for 2017 featuring non-heteronormative couples in their campaign. Wonderful! A gay couple are featured as a header on the US website, alongside other gay and lesbian and gender-nonconforming couples in the campaign:

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They even released a very sweet statement for the campaign:

At Lush we believe that love transcends gender. We set out to do one thing when creating our Valentine’s Day visuals, we wanted to capture love between two people and we believe that’s what we have done here. The fact that our loyal and loving fans are starting their own conversations using our visuals and #loveislove absolutely warms our hearts.

But, (and this is a big but), why on earth didn’t this transcend to the UK website for Valentines Day?! There is no mention of the LGBT campaign – no photos, no #loveislove hashtags, just a crappy photo of a heart-shaped bathbomb. This kind of contradiction and blatant picking-and-choosing of where to present certain messages makes the campaign and the company come off as inauthentic, consequently using the gay community to publicise a Valentine’s Day sale. Love is a universal experience, so why can’t Lush’s campaign be? My theory is that British ad men and women are too afraid to upset anyone. We are so apologetic and fearful of offending in the UK that it’s affecting how we stand up for what we believe in.
To reiterate, this seems to be a bizarre UK problem – as a country where gay marriage finally opened its doors to lots of British gay couples and proudly abolished Section 28, I struggle to accept that the advertising industry has moved forward in this way too. The only time I ever seem to see gay couples represented correctly in advertising is when Pride in London is being advertised!
Another very sweet Valentine’s Day campaign featuring a man proposing to his boyfriend by Hallmark has done a fantastic job at normalising gay love in a campaign with lots of other couples celebrating international the day of love:

There’s no hashtags about equality, no clickbait, no hint towards inclusivity, just a mix of normal people showing us what love means to them. Of course this was a campaign in the US! This is the third consecutive year that Hallmark features a gay or lesbian couple in their Valentine’s day ad. I’ve never seen any of those campaigns here, despite Hallmark being a retailer in the UK.

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Ok, for a moment I will stop listing the negatives, and actually praise a British brand who has defied the norms when it comes to gay male affection in marketing – Lloyds! It’s been noted that brands are failing to represent LGBT+ people in mainstream marketing campaigns, but Lloyds Bank have been praised for advancing LGBT diversity both internally and through its brand communications. Perhaps Lloyds being no.2 in Stonewall’s Top 100 LGBT Employers 2016 rankings influenced the fantastic campaign for ‘He Said Yes’, a same-sex proposal featuring two men.

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Here’s what Joey Hambidge (client account manager at Stonewall) had to say about the importance of LGBT representation in marketing:

While campaigns around Pride season are encouraging and to be applauded, consistent year-round communication with the LGBT community and featuring LGBT people within mainstream campaigns sends a strong message of inclusion and support.
Lloyds Bank springs to mind due to its recent mainstream commercial featuring a male same-sex couple’s proposal. Many young people entering the industry have grown up with an inclusive mentality. Their social circles can be mixed and varied so they are looking for companies that reflect these values. So even if someone may not identify as being LGBT themselves, finding an LGBT-inclusive employer is often important to them.

Lloyds Bank could have so easily used women in the ‘For Your Next Step’ ad, but I absolutely believe they did the right thing by using two men. Not only were they featured in the ad below, they have also been used on huge underground billboards and posters:

Lloyds Bank have actually featured same-sex couples in its advertising since 2010, and Marketing Week have written exactly why this is so important in an article here. I feel honoured to have worked with such an inclusive brand during my time at adam&eveDDB.

Unfortunately, Lloyds Bank are the exception in the UK. Whilst doing my research for this blog post I came across one of my favourite websites, Pink News, which had a news section on gay ads – hoorah! Lots of content to prove me wrong! Not quite…….. as wonderful as they all are, they’re all American. Check out the list here.
There has been cataclysmic shift in the portrayal of homosexuality in advertising, particularly when it comes to the likes of fashion brands such as Dolce & Gabbana producing homoerotic ads for years. This is an improvement to be noted – we’re hardly seeing any half naked, muscle bound and oiled up Adonis, instead we’re seeing gay men being portrayed in a mundane, family-orientated way, like the ads mentioned above. This still isn’t good enough – all of these campaigns (including Lynx’s ad featuring a dancing man in heels; Lynx’s “kiss the hottest girl… or the hottest guy” adTylenol’s #HowWeFamily campaign, to name a few) are American and Australian. They aren’t broadcasted on British TV, even if though sell the exact same products or services here.

Whilst we should always praise and encourage the portrayal of lesbians in advertising, as the sexualisation and fetishism of lesbians is still rife in the media, it’s difficult to ignore the blatant use of two women being more comfortable viewing than two men.
Match.com really had the chance to represent the LGBT+ community in a normal way like a lot of the ads above have done. Lots of dating apps and websites are now trying to convey a message of inclusivity – that their services are not just for straight people. As part of their campaign, Match.com decided to dedicate one spot to two girlfriends who supposedly found love through the website. I cannot help rolling my eyes and cringing every time I see the following ad on TV:

‘Messy Girl’ actually was no.3 on the top 10 complained about UK ads, because of kissing women (896 complaints). Despite the ridiculous amount of homophobic complaints, I do not respect Match.com for this campaign, and I cannot support their efforts. I find the entire narrative unnecessary – the “messy” story did not need to include lesbians undressing (with lacy lingerie on underneath… come on, really?!) where all the other spots for the same campaign are not sexualised, and instead portray the innocent, adorable and quirky aspects of dating and falling in love.
The entire ad screams male gaze, and Match have clearly spent no time researching into what it means to the LGBT community to be represented in advertising. ‘Messy Girl’? more like Messy Idea! Who wrote this sh*t?

Sainsbury’s 2016 Christmas ad saw an enormous amount of praise not just from creatives surrounding the concept and execution, but also from families in the UK – particularly same sex parents who were thrilled to see female same-sex parents along-side mixed-race families and a single dad:

Whilst successfully reflecting modern British families, I can’t help believing that two women were favoured over two men. Even though they are animated characters, lesbian women are predominantly more accepted over gay men because society still does not feel comfortable with the idea of gay male sex. You might be thinking “calm down, how on earth did you go from innocent animated characters to gay sex?” well, that’s how homophobes’ minds work – they believe the representation of same-sex parenting is damaging and has a gay-agenda. So, ASA (or whatever standards authority board) receive complaints, ads get taken down, and clients/agencies steer clear of pro-LGBT concepts for fear of offending. I can’t tell you why people think this way, but I can tell you it is still a very big and very ridiculous problem. It’s particularly concerning that very few UK brands choose to represent male couples, particularly affectionate or intimate gay couples.
I think the current discrimination epidemic seen during the US election speaks volumes in terms of how far we have to go regarding LGBT rights. From what I have seen on social media, people have (up until the election) remained naive and unaware of how discriminatory certain groups of people can be, and how manipulative they can be when working in numbers. A lot of people in this world genuinely believe gay sex is demonic, and that those showing it on TV are pushing an ‘agenda’ to turn their kids gay. These same people compare gay men (never lesbians) to pedophiles. If it wasn’t so tragic, I’d laugh.

I want to end this blog post on a positive note – the note being Thomas Cook – a UK company who have subtly flown the flag for the LGBT community in this lovely ad called ‘You Want We Do’:

Again, no hidden messages; no hashtags; no trends; no exploitation, just a bunch of different people all wanting a great holiday with the ones they love.
Jamie Queen, marketing director for Thomas Cook Group told Marketing Week:

I think marketers can always do more to represent the needs of the consumer and that’s what we’ve tried to do with the gay kiss. It comes down to the needs of our customers and addressing a modern population.

Aside from the wonderful representation of gay partners (header image) and gay dads (below), the ad itself is actually wonderfully art directed and shot.

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To conclude, what I’d like to say to creatives is, don’t be like Match.com – be like Thomas Cook – be revolutionary, be bold, be authentic. Feature gay love, feature men playing tonsil tennis, and do it with conviction. Don’t worry about the complaints, the Bible bashers and the ratings. You are the voice, and we are living in a time where your compassionate creativity is needed more than ever.

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