Barbara Kruger

When thinking about promotion it reminded me of the designs by Barbara Kruger. Its strong messages for Selfridges clearly illustrate most of what promotion says as i feel the main of objective of promotion is to sell something by getting it noticed through trying to show its positive attributes. I like the bold rebellious style and the almost sarcastic tone that runs through work. I find it inspiring because it hadn't been done before and its rebellious in the way it sells.

Advertisng and Technology

An article on the technologies that will affect advertising and how it would become more focused. I thought it was important that i begin to look into the technologies which would affecting the future of promotion as it is something which would affect me. I feel that the idea that the adverts will become more refined in terms of the audience is something which could help me in the future in terms of picking and choosing certain images  but I'm not sure whether this could reduce the number of ideas available to use when trying to produce an advert. I like the idea of the eye tracking to figure out what best works within packaging but not sure whether this would begin to restrict the colour choices and layout options available when it would become apparent which work the best and which don't.

From looking at the articles I'm sure that they would be beneficial for advertising and allowing them to aim specific people but not sure whether or not they would be beneficial to the more creative part of the work.

Where promotion is going

I've looked at the designs of the present and the past. But the designs of the future will consist of more digital media than there is currently and be directed more by digital observation.

More mobile media through technologies such as the ipad and through the advertising platforms which are part of them such as iAds. I like the look of these and i do think that they will make them a bit more engaging. Although this is another platform to consider my work stretching into i not sure whether its something i would particularly want to design for.



Ads chosen and changed accordingly when someone looks at the advert.
Smell machines in cafe doorways wafting smells of coffee to passing people.

Comparisons

The development and progression of advertising is clear through the designers with the slow reduction in the use of type within the adverts, the images seem to become more vibrant. I don't mind adverts with large amounts of text but some of Ogilvy's work i don't feel would work as well now as it used to, however its clear that William Bernbach's style and layout is still used in contemporary adverts when used in newspapers and other forms of publication adverts.

Abram Games

The style of his work — refined but vigorous compared to the work of contemporaries — has earned him a place in the pantheon of the best of 20th-century graphic designers. In acknowledging his power as a propagandist, he claimed, “I wind the spring and the public, in looking at the poster, will have that spring released in its mind.” Because of the length of his career — over six decades — his work is essentially a record of the era's social history. Some of Britain's most iconic images include those by Games. An example is the "Join the ATS" propaganda poster of 1941, nicknamed the "Blonde Bombshell" recruitment poster. From 1942, during World War II, Games's service as the Official War Artist resulted in 100 or so posters.

I really like his strong bold style which almost presents things as icons i like his use of imagery and the way he combines images like in his  "grow your own food" and the message 'use spades not ships'. The layout works nicely in projecting this message which is the ship against the spade which sits quite nicely against one another. I like how this reaffirms the message to make it more interesting than it would otherwise be.

William Bernbach

William (Bill) Bernbach (August 13, 1911, New York City - October 2, 1982, New York City) was a legendary figure in the history of American advertising. He was one of the three founders of Doyle Dane Bernbach (DDB) and directed ad campaigns such as Think Small for Volkswagen Beetle, which is recognized by Advertising Age as the top advertising campaign of the twentieth century.

Leo Burnett

Leo Burnett (October 21, 1891 – June 7, 1971) was an advertising executive who created the Jolly Green Giant, the Marlboro Man, Toucan Sam, Charlie the Tuna, Morris the Cat, the Pillsbury Doughboy, the 7up "Spot", and Tony the Tiger.

n 1935, he created his own agency in Chicago, which is now known as Leo Burnett Worldwide. He was inducted into the Copywriters Hall of Fame in 1961, and retired in 1967.

Burnett followed Walter Lippmann's philosophy of creating an image around the product. Until his time, advertising centered on long text descriptions of the product, with detailed arguments as to why it was better than competing products. Burnett concentrated on style, creating icons as a symbol of the product. He stressed that the creator of an ad needed to somehow capture and reflect what he called the "inherent drama" of the product.

One of his most important uses of internal corporate symbols were the red apples placed on every receptionist's desk. Any visitor or employee was free to take one, and this is still the case. It stemmed from the opening day of Leo Burnett's agency, when the receptionist set out a bowl of apples to brighten up the place. When word got around that Leo Burnett was serving apples to his visitors, a newspaper columnist cracked, "It won't be long 'til Leo Burnett is selling apples on the street corner instead of giving them away." Though the columnist was only echoing the general feeling during the Depression, Burnett saw the apples as representing the spirit of caring and concern for employees and clients alike.

Another important internal symbol Leo Burnett created was an icon of a 'hand reaching for the stars', which he explained with the saying, "When you reach for the stars you may not quite get one, but you won't come up with a handful of mud either".

A third symbol was the "black pencil", an Alpha 245 of the type commonly used by Burnett in his lifetime. To Burnett it symbolised a commitment to the warmth and humanity of ideas, and to the work of the people who create them.

His work feels quite modern and through looking at his work i see where certain trends within advertising began. Using characters to sell cereal and other products i like as it almost personifies the product which i like as it allows more ways of been creative with whats available.

David Ogilvy

David MacKenzie Ogilvy, CBE, (June 23, 1911–July 21, 1999), was a notable advertising executive. He has often been called "The Father of Advertising." In 1962, Time called him "the most sought-after wizard in today's advertising industry." He was known for a career of expanding the bounds of both creativity and morality in advertising.

Ogilvy’s advertising mantra followed these four basic principles,

• Research: coming, as he did, from a background in research, he never underestimated its importance in advertising. In fact, in 1952, when he opened his own agency, he billed himself as research director.
• Professional discipline: "I prefer the discipline of knowledge to the anarchy of ignorance." He codified knowledge into slide and film presentations he called Magic Lanterns. He also instituted several training programs for young advertising professionals.
• Creative brilliance: had a strong emphasis on the "BIG IDEA."
• Results for clients: "In the modern world of business, it is useless to be a creative, original thinker unless you can also sell what you create."

I personally don't find his work all that inspiring except for the headers within them which make the adverts more interesting. Majority of the images within his ads i find a bit dull and not very engaging although they possibly were at the time.

Past Advertising

Much of today's advertising differs from adverts of the 1930s-1960s with different processes and style of delivery. Work from David Ogilvy, Abram Games, William Bernbach, Leo Burnett.

Imagist

With precise, forceful imagery and clear, sharp language we provide an individual and original response to each and every brief – achieved through rigorous research and engaging communication with our clients.We work for both independent organisations and large corporations across many sectors – including retail, property, government, aviation and the arts – creating and developing everything from brand identities, corporate literature and websites to advertising campaigns, signage and public art installations.We pride ourselves on boundless imagination, meticulous attention to detail and a personal interest that enhances the outcome of each collaboration.

Clients include:Arts&Business, Babel Label, Ballymore Group, Carrington Property Consultants, European Business Jets, FedEx, Forma Music, Future Realities, Futurecity, Grand Visual, HAT Projects, Kinetica Museum, Land Securities, Nokia, OneDeko, Old Spitalfields Market, Palo Alto, Sectorlight, TIGI, Wieden+Kennedy.

I like the FedEx stuff they've done with the nice simple type led design which i think works well in getting across the messages.

Billington Cartmell

Who we are

We are a highly successful, award-winning, independent marketing communications agency.  We are over 140 people, and still growing, with a mix of client and agency experience that delivers ideas, strategies and strong client relationships with one aim in mind: to make a client’s brand really matter to consumers.

What we do

We work with a range of high profile brands across all sectors to create memorable and successful communications focused on direct, digital, promotional, experiential and relationship marketing. We’ve been creating integrated communications that change consumer behaviour and deliver tangible results for over 20 years.

How we do it

We describe our culture as Fired Up, and everyone at Billington Cartmell has the same Fired Up attitude. We make things happen for clients through our fast-paced, pragmatic approach – delivering exceptional results and inspiring colleagues, clients and,most importantly of all, consumers. It’s this approach that makes sure our clients’ brands matter more.


I like the images they use in their work as much of it is quite vibrant and clear designs. I like the Lucozade stuff they produced as the bubbles they added i think add energy to some of the images where i think it lacks and makes them more engaging.

Purpose

I Like some of the stuff they produce. I like the orange brochure and some of the adverts they've done for paradise poster. I like how the photos link with the titles throughout the orange brochure and the minimal amount of type.  I like the ideas which don't use the conventional approach and look at more interesting way of presenting an idea i think producing ideas like this creates an idea which more exciting and interesting.

DDB

Roots

Where We Come From
In 1949, three enterprising gentlemen, Bill Bernbach, Ned Doyle and Maxwell Dane gave the advertising industry a wake-up call. They introduced a new approach to marketing that relied on insight into human nature, respect for the consumer, and the power of creativity. In short, they said: Let's stop talking at people and instead start conversations that lead to action and mutual benefit.

This heritage tells us who we are, what we believe and how we should behave. It inspires us to continually challenge standard convention. From Bill Bernbach to Keith Reinhard to the present generation of DDB leaders, we continue the revolution.

Ideas are the fuel of DDB. Throughout our evolution we have been guided by a series of relevant and related ideas:

Creativity Is The Most Powerful Force In Business
DDB's pursues collaborative relationships with clients and partners to find the hidden potential of people, brands and business through creativity.

Insight into Human Nature
We believe that great ideas come from keen insights and one good idea can propel a brand for years.

Respect for the Customer
DDB has long led the way by recognizing that brands are in the hands of consumers, not brand managers. Nothing is more important and relevant today.

Respect for Our World
As influential communicators, DDB is in a position to use creativity as a force for good. As Bill Bernbach so eloquently put it, "All of us who professionally use the mass media are the shapers of society. We can vulgarize that society. We can brutalize it. Or we can help lift it onto a higher level." .



How We Do It
Before we describe "how we do it", it might be an idea to tell you what the "it" is. The "it" is the creative generation and execution of ideas that change the way people think about brands. Sounds simple, right?
In theory, yes but in practice, marketing has become much more complex and leads us to How We Do It. The simple fact is - there is no one way to do it. How can you template a process when no two brands are alike, no two clients are alike, and no two consumers are alike?
At DDB we are guided by playbooks, not rule books. Rigid methodologies minimize creativity. Paint-by-numbers gets you the same painting every time.
That is not to say we do not have tried and true approaches to building and growing world class brands - we do. But rather than share our methodologies, we rather you spend time on the rest of this site and take a look at examples of our work, peruse some of our thinking, participate in our debates and discussions - basically get to know who we are.
Nine times out of ten, companies like ours are chosen as partners based on chemistry. So we should meet and you can share your challenges and opportunities: we love to solve complex business problems, take away your worries, and have a lot of fun doing it.




Like BSSP i like how simple the ideas are and i like use of photography in these especially the McDonald's one. I like how they have put the logo on in a slightly different way. I like how they've simply used green tones in the golf one to link it with night vision goggles and the possibly the strength of the lights.

BSSP

We still believe in the power of big ideas. We still let people bring dogs to the office. And we’re still independent. But now, with the benefit of 150+ employees with diverse experience from agencies and brands of all shapes and sizes, we work even harder and smarter to be partners with our clients.We have grown from a small, nimble, traditional ad agency into a mid-size, nimble, full-service, truly integrated branding company.

As members of Worldwide Partners, Inc., a global network of independent agencies, we have access to outstanding resources for insight and campaign implementation around the globe.

Clients:
Adobe, Mini, Radioshack, Lucasarts, Converse, Epson

Media:
TV, Radio, Online, Print, Ambient


I like some of the work these do mainly the mini stuff as its a bit more fun. I like the play off the wording in the images and how they apply it to the car. I like how simple they are kept as well single image and very little type. Not sure whether their other stuff really come across as fun and enticing as these and feel that the mini stuff is some of their stronger work.