Joined up thinking

I believe that different creative skillsets can compliment each other to produce more effective creative work. This is joined up thinking.

How it works
I use a few different skillsets to make the overall service stronger. For example, crafting visuals with a designers’ eye can improve the art direction of ads. Knowing how reveals and messages are structured through direct mail can help make more impactful print design projects. And applying the same level of rigorous thinking to all projects as you would to an advertising campaign makes it all better.

This is how I work. I have built strong skills in various aspects of creative craft, from art direction and concept generation, to graphic design, video editing and illustration.

What this means for clients
I’d like to think I’m less likely to say ‘That can’t be done’, and I can take ownership of more project elements, and can bring them seamlessly into my workflow. I don’t have to brief as many tasks out, and I can maintain the passion you only really have when you’re working on an idea you have developed yourself, and that you truly believe in.

For clients this means I can do more for you, with more dedication, more efficiently and more cost-effectively.

When it started
In my early years in the industry I met a lot of Creative Directors and Heads of Art or Copy in advertising agencies who were at the top of their game. I learned loads of really useful things, but I kept getting a piece of advice that I couldn’t really get to grips with. It was something like this, ‘Be a specialist, you can’t be an Art Director AND a Designer, they’ll think you’re a Jack-of-all-trades’ or similar words to that effect.

I get it, it’s much easier to remember someone who is ‘Andy the Art Director’ than ‘Andy the Designer, Art Director…etc…’ But apart from being easier to put in a box, the idea never sat well with me. I didn’t want to just do one thing. I had too many ideas I wanted to bring to life, and I felt that other creative skills could only help make the work better. It seemed like a no-brainer to me.

As my career progressed I met more like-minded people, art directors who could also illustrate, designers who could code, copywriters who were also cartoonists, filmmakers who were also musicians... I recognised that there were two ways to go about things. You can stick to one thing, hang your hat on it and aim to be the expert at that, or you can expand and build complimentary skills and use them to make everything better.

Knowing your limits
There are some things I have either avoided, or tried and realised I’m just not cut out for. For instance, I’m never going to be a web developer. I understand what makes websites enjoyable to use and look superb, but I’ve tried to teach myself coding three times and thrown the towel in. I just don’t have that kind of brain.

Likewise, for animation and motion graphics. I do a bit of it, but more to make the films I make more interesting. I think this an area where specialism is important. Mastering animation is too time consuming to do alongside everything else. I have seen other people dedicate the focus and time needed to get really good at it, and I know I won’t want to stop learning other things to get good enough for that.

Copywriting? I love it! It’s what I wanted do when I first started in advertising, and I’ve won awards for it. But whilst I can write headlines, messages and scripts, I recognise the true craft of copywriting requires a more sophisticated grasp of the English language. You need to be able to write long, structured copy in any tone of voice. And it all needs to be perfect, so that grammar pedants won’t spot mistakes. I know a lot of people who are master copywriters, and it’s a craft I really respect.

Fortunately, I have a network of trusted professionals. Expert specialists who I collaborate with on projects, including copywriters, animators, illustrators, photographers and web designers. So I can bring them in to help me tackle almost any creative challenge.

It all comes down to the idea
My approach is to invest energy up front developing really strong, effective concepts. Then I can let the idea dictate the creative decisions - each skill should be working to bring the idea to life.

This makes every other part of the process much more efficient and much more exciting. In turn, you have more focussed, single-minded, concept-driven work, which is more likely to resonate with people.

Find out how Joined Up Thinking can help your business today.

Who's idea is it anyway?

This piece is about the ownership of ideas, a grey area and a confusing topic, in my opinion. I’m not going to get into intellectual property or copyright (as I’d be hopelessly out of my depth). It’s more about how ideas are generated, and how we credit them.

I had a friend growing up who I used to chat about all kinds of random nonsense with. Dreams, tall tales, fantastical stuff, childhood imagination running wild. I found it strange when I realised that he thought all of these ideas were his. It wasn’t malicious, he didn’t know he was doing it and I didn’t mind, I just thought it was odd, when I clearly remembered having at least some of the ideas myself first (or did I? you see, it’s tricky!) – It’s a rare trait, and when I see it in adults, it’s the only time I keep a tight lip around them, something which is normally counter-productive. But it did show me early on that idea ownership is a complicated thing.

A lot of my thoughts on this topic come from working in a two-person creative team set up. Typically an Art Director/Copywriter situation. I think this varies a lot from team to team, but for me, I always find it most fruitful when a copywriter and I go through briefs together and chat our way around the proposition and possible concepts and routes. When this happens, we eventually get to some ideas we feel are strong.  

In this situation, it feels like a collective idea. Even if someone has some ‘eureka’ moment (it’s almost never that dramatic), it’s still as a result of collective thinking, of building and expanding on each other’s thoughts. I have only rarely been I this situation when the other person felt the idea was entirely theirs (which I found quite disturbing, given the way we’d been working) – so in this situation, the idea is shared between you both. That’s easier. 

When you have sole responsibility for creative concepts, its harder. Both building concepts, and I feel it’s also easier for self-doubt to creep in. Without your creative partner, or I imagine, your song-writing partner, editor, or muse around, it’s easier for confidence to wane. Does it feel familiar? Have I nicked it by accident? Or is it, in fact not amazing, but shit? A creative partner gives your idea an instant champion and advocate.

Brain-storming

Possibly a controversial one, but I think brainstorms, idea showers or things like that are usually a waste of time. I enjoy them, it’s nice to get everyone together to talk about a brief. But I think you only ever scratch the surface in these things. Also, I think the group need to be really tight-knit, and really trust of each other to be truly honest. Otherwise, I find that there are all kinds of baggage there. Some people are afraid to speak, for fear of sounding stupid, some people offer weak ideas, and others big them up so as to encourage them, and to make them feel better. But worst of all, if there’s someone with some kind of hierarchy or need for power in the group, there will be others who feel the need to get on side with them. So therefore, weak ideas go through all too often as a result of these things. A womderful cartoon by Ro Blechman for Punch in 1957 illustrates this perfectly. 

R O Blechman for Punch 1957

But worse than that for me, is that you don’t get the rigour of thought that you do when you tackle and ponder a brief on your own, in a brainstorm scenario. You don’t get time to dig deeper and muse on it until it gets stronger. You also don’t have the dialogue of a creative partner to scrutinise it, make it better, shoot it down if necessary, or tease it out. A lot of the hidden gems get drowned out. 

And finally, who owns the idea in a brainstorm? It’s not like a partnership situation, where you both feel you own it. Usually, the person who said it does get credit. Maybe its because it’s harder to split it five, or eight ways than two. But if it’s doing what it’s supposed to do, then surely the idea is always a collective one?

I tried to read Steve Jobs’ biography once. I gave up about two thirds of the way through, as I had decided he was such an unpleasant person, that I couldn’t devote any more of my time to him, but that aside, I was struck by the underlying truth to his ‘genius’. I think it’s misinterpreted, if not incorrect that he was one. It seems to me, it wasn’t that he had the ideas, which I think is how he’s perceived by many, it’s that he saw them in others and made them reach their full potential. He was, as a friend once pointed out, a Creative Director in the classic sense. 

So that made me think about people who have great ideas but do nothing with them. I am lucky to know and work with a lot of very creative people. Musicians, designers, artists and writers. And I hear so many amazing ideas coming from them. But I have also noticed a weird phenomenon. Often, the most incredible ideas, come from the people who seem not to ever do anything with them. I think, ‘yes that could be amazing! I wish I thought of that…’ but they never do it. Maybe the best ‘ideas people’ need a Steve Jobs around to make them happen.

There’s a great podcast of the TED Radio Hour which talks about ‘Originality’ – It talks about ownership of ideas in the music industry, in technology and in fashion. And how different it is across the three genres. It is fascinating. (it’s here if you want a listen - https://www.npr.org/programs/ted-radio-hour/321797073/what-is-original?t=1564606879920

I’ve meandered off topic quite a bit here, so to summarise, I think you know in your heart when an idea is good or not, and you should also know whether it came from you or not. I think you just need to listen to your gut. But, I think what you do with the idea is more important. A great idea, well executed, is a wonderful thing. 

When you need something special

One of the most interesting parts of the job for me is working with photographers, illustrators, and other hugely talented creative experts, to bring a project to life. Typically, it is Art Directors and Creative Directors who find themselves in this position, but it can often also apply to people who work in production, and any other part of a wider creative team. But for the purposes of this post, I’m going to be looking at it from the point of view of an Art Director. 

A finished concept has been presented and approved by a client. Awesome, this is the fun bit, now we get to bring it to life. At this point, I think this can see yourself in one of two positions. Firstly, you will already have the photographer, illustrator or animator in mind, and it’s just a case of giving them the green light. Or more often, for me, you need to find someone who has a style which will bring your idea to life. I think there and plus and minuses to both scenarios. 

Project created for Tangible. Illustration by Bill Walsh.

I have rarely had an artist in mind ahead of the concept stage. I have been so focussed on finding an idea which brings the proposition to life, that I find myself in the situation where I have an idea I love but I don’t who can do the kind of thing I am looking for. 

It may be to do with the way I find inspiration, (probably the wrong way). I save loads of cool creative work that I love, but I rarely note the names of the artists. So, I end up having to try to find people who can bring the vision to life. This can make it harder but can also lead to more varied work and you get to meet a wide range of weird and wonderful, and extremely talented people this way. 

Project created for The Leith Agency. Botanical illustrator’s name forgotten (sorry).

The next phase is directing. For various frustrating reasons, I haven’t had any TV ads actually go into production. So my directing has been for radio, photography, illustration and animation. I have found that it’s a very different experience directing for these different disciplines. 

This next statement could be controversial, but I find that photoshoots can be extremely boring… There are moments of excitement, when you can see the photographer get the shot, and it is inspiring to watch a master craftsman at work, but there are long periods of time spent setting up equipment, waiting for light to change, and waiting for models to get ready. I find in these situations; I over-eat whatever snacks are available and feel fat and bored for around 50% of the time. But you can never truly relax, as you have to watch to make sure it’s on track. And sometimes new variations present themselves as the shoot is under way. 

Project created for HUSH Communication. Animation by Ainslie Henderson.

Illustration and animation is a different kettle of fish. Typically the illustrator/animator will go away with your scamps or storyboards and come back with a test illustration, or a short test animation. At this stage, you can give some pointers and then send them away to do their thing again whilst you work on something else. 

How much do you direct?
Possibly another controversial one, but I say, as little as possible. I used to feel strong urges to jump in and point something out, but I realised this was mainly down to a lack of confidence, and a desire to feel in control. And I feel it is counter-productive. I know myself, when someone’s leaning over my shoulder, throwing instructions at me, it can be really stifling and off-putting.

These days, I try to provide as much direction as possible in advance - visual references, mood boards etc. and I like to share the proposition from the brief, to give the artist a sense of what I’m looking for. Ideally, I like to meet in person or at least chat over the phone. I try to do as much as possible to make sure we’re on the same page. After that, leave them to do their own thing. If a shoot is going well, I’ll happily lurk in silence all day, offering only the occasional thumbs up. 

The next step is to see your vision come to life. Whether it’s illustrated or photographed, filmed or animated, this is my favourite part. When the finished work comes back to your inbox, after post-production magic has been done. It feels really real now… 

…however this is also the part where I feel a slight, and unexpected pang of sadness. I’m quite a selfish person in some ways, when it comes to creativity, I want to be able to create everything. I’m like Dennis Waterman from Little Britain, I want to write the theme tune, sing the theme tune… When I listen to music, I always fantasise about playing ALL of the instruments, and when I see visual creative work, I want to do it all. There’s probably a dodgy personality issue there, but I can’t seem to shake it. 

Which brings me to my last point, ownership. The work is now truly a collaboration. If you are the Art Director, then there is probably a Copywriter who has had an equal part in the initial creative process, there may be client facing colleagues, who will have written the brief, and who will have had to champion and sell in your vision, and possibly creative directors who may have been steering you and overseeing the idea. And now too, it is the work of the artist, who brought the idea to life. So who gets the glory?

Project created for Denvir Marketing. Photography by Archie Macfarlane.

This reminds me of looking through album sleeve notes as a teenager. I much preferred it when the songwriting was collective, ‘all songs written and performed by Iron Maiden’ for example, as opposed to ‘‘Ride the Lightning’ written by Hetfield & Ulrich.’ And I feel it is also the case with creative work. I think everyone plays a part, and so everyone can share in it’s success. I think this makes future projects much more likely to succeed too.   

Photographer Archie MacFarlane with the Denvir team (and Mick) at The Scottish Creative Awards 2017.

Should I scamp?

What is a scamp? For those in the advertising industry, you probably know, but beyond that, I think it’s probably not that common a term. It may mean different things to different people, but to me a scamp is a rough, a sketch, a hand drawn mock-up of an advertising concept. It will contain the visual idea and message which make up the ad concept, the art and copy.

They’re deceptively simple. They need to be loose and rough, yet they need to convey an idea instantly whilst leaving enough of the detail out.

In the past, it would have been the quickest way to get ideas across. A marker pen, a layout pad and a quick drawing and you can go away and present the idea. But times have changed. Powerful creative software and intuitive apps mean there are many creative tools at hand to create visual content quickly, often faster than drawing it. There’s the internet of course. It’s always there, instantly, you don’t need to scamp something as you can just Google a picture of it, or something similar.  Speed isn’t really the reason for them to exist anymore. But, I argue they still have a really important role to play… and I bloody love them.

I first heard the term ‘scamp’ during my first early forays into the advertising industry. I had seen a post on The Leith Agency’s website, written by their Creative Director Gerry Farrell which listed some essential advertising books aspiring creatives should read, (‘The Copy Book’, ‘D&AD Annuals’, etc.). I was skint at the time and had little surplus cash to buy these books. But I went to Edinburgh city library and tracked the ones I could down. They were indeed great! But there was one I couldn’t find ‘Hey Whipple, Squeeze This!’ by Luke Sullivan. I was intrigued enough by the title to fork out whatever it cost for a second-hand copy on Amazon, and I read it. In it, he showed various ad concepts of his, in the form of a ‘scamp’. The quality of drawing was pretty crap, but that wasn’t the point, and was also what I liked about them. You could get an idea down quickly, and without feeling precious about the craft of it, at that stage. It was pure. A visual idea lifted straight from a sketch pad. I could do that. But I quickly lost that initial confidence. 

I partnered up with my first professional creative partner. We were both were trying to work out which way our roles should evolve. We had both done visual-based creative courses (illustration for him and product and furniture design for me). He was so bloody good at drawing that in those early days, I fell into the copywriter role and he became the art director… so he drew all the scamps. Mine felt pretty amateurish by comparison. 

We got our first break in the form of a placement from Michael Hart at The Union, followed by one at Frame and then our first ‘job’ at Barkers Advertising in Glasgow, During that time, I quietly tinkered with my approach to scamping, whilst working on copy for a couple of years. Eventually we were inevitably made redundant as the agency went under, so we found ourselves pounding the pavement once again looking for a job. After a couple of months frantically scratching about trying to pay the bills, we got one, from the newly formed Tangible (formerly Navigator), but with a bit of a problem for me. They didn’t need a copywriter. 

We were split up, (thankfully for me, with hindsight, as I was never going to make it as a true writer) and I was made into a junior Art Director, partnered with great copywriters such as Andy Tucker, Richard Happer and Haydn Richard Harris. They were pure writers, but beyond the odd doodle, they weren’t responsible for the drawing, I had to do all the scamping, and I had nowhere to hide. My boss Tony also championed scamps and pushed me to step away from the Mac. I had to get good, quickly. I frequently took my sketchbooks home so I could do the scamps in this safe bubble of my flat, but gradually my confidence built as my scamps got better. I also think, having been partnered with someone who was so good at them at an early stage, meant I had set high standards early on, without really knowing it at the time. 

I developed a hybrid style to scamping. Sometimes with a splash of colour, sometimes just black and white. Sometimes tracing stuff if needs be, sometimes not. So that’s my scamping story, but back to the point about speed, we’re not in the Mad Men age anymore, we have multiple tools around us for creating visuals quickly, so do scamps have a role now? 

Yes. More than ever.

With a visual made up of stock images, fonts, graphics etc. The concept is already loaded with style. It can be hard to focus on the idea. With a scamp, a client can focus purely on the idea. They can’t get hung up on whether the blue is on-brand or not, if the typeface is right, or if the model is too boring/ugly/old etc. It allows them to embrace the concept. I think it pushes you, as a creative to be brave, and sell an idea and a vision as opposed to just produce content.  

There are obvious arguments against the use of scamps, they usually take longer than whacking a mac visual together. Some clients are just not able to look at them, they are probably just too used to seeing everything visualised. They can’t make that leap, and likewise, some account handlers don’t feel comfortable presenting them. But I think there are other reasons why they seem to be dying out, which lie more with the art directors than anyone else. I think drawing isn’t being taught or done for fun as much anymore. 

When I did my post-grad at ECA, I did it in Furniture Design, and we did life-drawing. At that time, every student, even the ones studying golf-course architecture had to attend life-drawing classes each week, something I hadn’t done since my foundation course at Newcastle college. I loved it! But I think most modern universities and institutions don’t do that anymore. I think there’s a nervousness amongst young art directors and designers to pick up the pen and just sketch out ideas. I have spent time freelancing in an agency that didn’t have any sketchbooks or pens. There was no point, none of their designers ever used them. That took me a while to digest. I have also had work in another agency purely to scamp, for a solid week of just drawing, because there was nobody in the in-house team that could do it. 

I think it’s also to do with how we present work these days, it’s often simply emailed across. Who has the time to travel to meet in person, and who wants to fork out the expense if it’s not necessary? If you do work with scamps in that situation, you have to scan it in, adjust it a bit in Photoshop if it looks washed out, and then email it to people. 

And then it comes back to time again too. It does usually take longer to scamp something than to mac it up if you’re good at the software. Design software is non-destructive too. You can undo digital files or keep editing them. If you cock up a scamp, it needs re-doing, or at least tip-ex-ing. 

But I think all those reasons, especially the time factor, make them as invaluable as ever. If you can draw (a wee bit, they don’t have to be illustrations), and can pull scamps together. if you can buy enough time to get yourself in-front of people and pitch your idea, then a scamp is a much more powerful tool to capture the imagination. And in a time when everything is instant and disposable, when there’s so much content around all the time, I think it’s good to push the brain to interpret something for a change, instead of just absorbing stuff. 

For me, if I get the chance, I’ll always scamp the shit out of it.

Note: Brand names removed. All concepts remain the copyright of the brands and agencies they were produced for.