Advark Magazine #003

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ADVARK

#003 costly creativity // chris helcoop // there’s nothing better than originality! // lee court // designed for life


A word from The Editor Hello you. Cheers for deciding to read this fine piece of literature. We hope it fills your boots with beautiful images and design, slick wordsmanship, enthralling discussion on vastly interesting topics and other nice things. This ‘Letter from the Editor’ lark is like writing a best man speech. It’s on the border of cheesey and the only bit of the whole shindig that I get nervous when writing. What do I say?! Well, I guess I owe a huge thank you to Lee Court for his marvelous illustrations found inside and out of this, our 3rd issue. Myself and Becci also have to thank Ailis Mullins and Laura Haigh (again) for going above and beyond, Chris Helcoop for his amazing photography skills, old friend Dave Reeves, as well as Rob Morris, Hannah Rogers and Adam Holcroft for their insights into the world of unpaid internships. Big thanks also to Peter Varga, Sydney Davidson, Tom J Hill, Fiftyone3, Dan Miller, Oliver Watts, Megan Morris, Alex Jenkins and Nick and James from One Minute Briefs. Lastly we thank Sean Hoare for having bigger helping hands the BFG himself. If you have any questions you want us at Advark to answer, or if you have anything to say at all, please get in touch. We’re nice humans and we’re clued in with social norms, so you have nothing to lose! Please enjoy, we try our best.

- JJOFL

get in touch

Advark is a creative magazine written by students for students. We love all advertising, design, typography, illustration, photography and everything in between. Founded by Becci Salmon (@18salmon) & Joe O’Flynn (@JJOFL) to help creative students voice their opinions and showcase their brilliant work. Editor: Joe O’Flynn Designer: Becci Salmon

We love hearing from you so why not talk to us? We’re always looking for student contributors, especially designers, photographers, illustrators & copywriters. @AdvarkMagazine /AdvarkMagazine contact.advark@gmail.com Please email about advertising enquieries.

advertise with us We grant you direct access to the largest and fastest growing market in the UK... students. Advark Magazine is distributed to all major campuses of The University of South Wales. Advertising with us will put you straight in to the hands of South Wales’ students. The magazine is released every two months in both print and digital unless stated otherwise. Please email us for a copy of our advertising price list. We offer discounts for advertising in multiples issues. contact.advark@gmail.com


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Featured Photographer: Chris Helcoop Featured Illustrator: Lee Court Designed For Life Time for a Catch Up!

There’s Nothing Better Than Originality! Despite Goliath, Dave’s Confident DIY Speed One Minute Briefs Costly Creativity New Zeland Plays Star Role Pay Per Gaze Apple Fails to Revive Long Copy Advertising 27 Classic Film Review: Lost in Translation

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Cover illustration by our featured illustrator, Lee Court

28 Companies Make a Difference by Withdrawing Ads 32 Leo Burnett Goes Crazy 18 Have You Got a Bright Idea? 18 Special Feature: Unpaid Intern Culture 19 Replacing Hills for Skyrise Buildings 20 No Money No Good 21 ‘Fox’, Verb: Baffle or Deceive 22 How to Network with Creatives 24 Q&A 30 We Highly Recommend 29 Searchy Wordy


thereÕs nothing better than originality! This article is about the Indie big

boys Arctic Monkeys and the fathers of Heavy Metal, Black Sabbath.

I am not the world’s biggest fan of Arctic Monkeys. But I have always recognised them as a band that own a particular, distinct sound. They are about to release their new record ‘AM’, which will follow 4 previous studio releases that all peaked at number 1 in the UK charts. So their shit definitely is chocolate in a lot of people’s eyes.

nose these hugely successful bands; it was created because I spotted something which was as interesting as it was niggling.

But, I am a bigger fan of the brummie bad-boys, Black Sabbath. I have even more respect for them due to what they did in the context they were in. In the beginning (during the late ‘60s) they were oddballs with guitars tuned to drop c, long hair, some of the darkest music on the planet and enough badass to sink a ship. They’ve had frequent lineup changes including the likes of Ronnie James Dio and even had to kick out the infamous Ozzy Osbourne in ‘79 due to his unstoppable drug addiction.Yet after asking him back in ‘97, breaking up, reforming in 2006, breaking up again, and then reforming (again) in 2010, they are still at it and their recent release, ‘13’, marks their 19th studio release since their ridiculously good debut ‘Black Sabbath’ in 1970. But this article was not created just to brown

I have searched tirelessly across the huge expanse of the internet but I cannot find when either of these logo’s came into existence or who designed them. But an interesting poster campaign that recently took place in Copenhagen sparked a lot of interest this June, where ‘Mcann Copenhagen’ decided to advertise the new Sabbath album by tearing away at old music posters. Not that this is the reason as to why the Arctic Monkeys has their new logo… I just thought it was something cool to show you.

To say it bluntly, Arctic Monkeys are using a ‘logo’ which looks unmistakably like Black Sabbath’s main logo, which they have used for over 40 years.

Are the two logo’s a bit too close? I think so, yes. But I can still sleep at night, so I’m living with it.


DE S P I T E G O L I A T H , D A V E Õ S C O N FIDE N T

IMAGE USED WITH THANKS TO ADLAND.TV

You might have heard that two giants of advertising, ‘Publicis’ and ‘Omnicom’ have decided to join forces and in effect, become one mega agency. Some are excited to see what the new company can produce, whereas some smaller players in the advertising game are slightly skeptical about their future, complaining that this kind of competition is just too much. Despite this, the best road for agencies to take is one of hard work and success, regardless

of the size of your competition. Copacino + Fujikado is a small ad agency in Seattle that have recently won the title of Ad Age’s: ‘small agency of the year’. They cleverly summed up and celebrated (with tongue in cheek fashion) the merger within the billboard shown. Agencies like C+F seem to have the confidence that they’ll keep up the good work even when the competition gets a bit colossal. Best of luck to y’all!


INTERIORS


CHRIS HELCOOP FE ATU R ED P HO TO G R A P H E R In this sexy-assed third issue of everyone’s favourite, we have decided to showcase the outstanding talent of photographer, Chris Helcoop. Chris is a lovely chap who attended the BA Hons Photography course at The Arts University Bournemouth. The work shown here is from a projects of his called ‘Interiors’. Two pieces from the project have already been exhibited at a seafood restaurant in Bournemouth called ‘Westbeach’. Chris found exhibiting his work beneficial and said: “I really enjoyed exhibiting there, as it was a nice change of atmosphere in comparison to exhibiting in galleries. It was interesting to place the work in a context where visitors hadn’t just come to see artwork (or maybe they hadn’t planned to see any artwork at all!), so in that respect Interiors was probably able to reach out to a new audience. Also, by nature the work needs to be observed for a little while for the viewer to realise how constructed each Interior is,

so I thought that exhibiting in a venue that required the viewer to sit (and eat) would allow the work to be understood well.” ‘Interiors’ was also given an invitation to be shown at a three month group exhibition over the pond, in Michigan City, Indiana. A prestigious event that was curated by the illustrator, Thomas Allen. We love his vision here at Advark and advise those who are looking for some exposure to take the same approach. Use places to exhibit your work where people purposefully come to sit and spend quality time absorbing the finer things. Seafood restaurants are a great idea; but be careful… Some can be a bit fishy. If you want to see more, the clever boy has made a website for you do just that: www.chrishelcoop.co.uk.


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lee COURT FE ATU RED IL Lu STR ATO R

/LeeCourtArt @LeeCourtArt

lee-court.com lee@lee-court.com


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Our featured Illustrator for the third issue of Advark Magazine is the truly talented, Lee Court. Lee has recently graduated from Swansea Metropolitain University and is bursting with beautiful work such as our cover piece which is entitled, ‘Lunar’. The cover piece was created a year ago as part of an ongoing series, and the more recent addition, ‘Solar’ is shown above. A write up on his work and efforts in the Swansea Met’s grad show read: ‘Raw aesthetic and intrinsic meaning are combined in Lee Court’s work to create both visually appealing and thought provoking imagery. He explores the realms of narrative fable and nonfiction to unearth seeds of inspiration that are planted firmly in a field of creative exploration.This exploration focuses on surface, media and application. He is particularly interested in telling pieces of the same narrative through a series of artworks linked together with a singular motif.

Lee provides an organic climate for his projects; they are controlled, yet boundless environments that allow his work to grow and find its own placement in the illustrative world. He wanders and crosses into other disciplines not restricting himself to the confines of the 2D surface. Despite delving into textiles and sculpture he revolves his practice around a nucleus of drawing and painting. Lee plans to meander further into his creativity with the knowledge that “not all who wander are lost.” J.R.R.Tolkien’. We are thrilled to have him on board and hope you enjoy his work just as much as us. If you are interested in Lee doing some work for you, or if you just want to check out some more of his stuff, his details are provided to the left.


D IY S P EE D

one idea. a hell of a

sam foote

These were the main ingredients that the bicycle frame builder ‘Tom Donhou’ used to create his ridiculous 100mph Fixed Gear Bicycle, a bike with one gear, and no freewheeling (the same design used in Olympic track cycles). His need to go super fast was inspired by those characters in crazy contraptions attempting to gain land speed records on the Bonneville saltflats. Like them, he wanted to push himself and his machine to the edge. Tom wanted to create the fastest bicycle he could, using the resources available to him: the materials in his workshop, his own hands and his pioneering spirit, similar to that of record breakers in the past. The current speed record for a bicycle is 166mph, achieved by someone tailing behind a drag racing car, to reduce wind resistance. Tom said from the beginning that this wasn’t about setting any records, it was to simply ‘build a bike and see how fast it could go’ by using his imagination and being resourceful. His day job of making custom bicycle frames gave him the skills to be able to fabricate his dream, but he still needed something to make this bike special. Something that would take it from your average fixed gear bike, to not your average fixed gear bike. Tom contacted Royce bicycles (a British bicycle manufacturer) to help him in making a gear high enough for him to get up some serious speed. Clifford Royce agreed to do so, but only because of the car Tom would be using to draft behind, was an old Zephyr (Classic 60’s Ford). A car he once owned and loved. They produced a whopping 104 tooth cog, basically the size of a steering wheel. An easy


lot of passion. not giving a shit.

cruising speed of about 60mph, able to reach 100mph, providing there aren’t any hills! By attaching a wooden frame to the back of the car to help provide wind resistance (effectively a garden shed), they were ready. After doing a few trail runs on a dual carriage way in the early hours, they felt ready to take on the bumpy WW2 runway, which was the destination Tom had chosen to push his product to the max. It was the only place he could get to that was long enough for him to pick up the mad speed he was hoping for. A couple of runs where Tom struggled to keep up with the car, and some dodgy gear changes from the driver ended in the two bashing together in unison. But after a fair bit of practice, they had a successful run. Tom stuck to the rear of the car, pushing harder and harder, the bike accelerating at the same pace as the motor vehicle it followed,Tom and the car both screaming. Eventually they ran out

of runway and Tom had outran his car. A whopping 80 miles an hour, on a push bike with one gear! Wanting to see how far he could really push his machine, Tom set up a rolling road indoors. The bike shaking, tom’s legs a blur and with plenty of encouraging shouts, Tom had done it. A staggering 102 miles per hour on a product built from his own hands. This is an incredible story of product design, of one man’s idea, making the most what he had to design and produce something simply brilliant. As for what’s next... Tom is by no means finished. As you read this, a Cosworth Capri, another classic Ford capable of going faster than the Zephyr, is being restored to take Tom over that 100mph mark for real. Watch this space.


DE SI GN ED FOR L IFE Advark asked part time Advertising Design Lecturer, Alex Jenkins, to feature his favourite music design project. We love what he has chosen (and designed) and are sure you will too. Alex is still designing music industry projects and has recently designed the album and single campaign for Example, including photographing

“I’ve been designing ‘record’ sleeves (I still call it that as it’s my favourite format and I still actually do design for 7", 10" and 12" vinyl formats) since 1994. I was asked by the guys at Advark to submit my favourite music project and I’ve chosen the work for Breakbeat Era that I designed in between 1998 and 2000, whilst Art Director at XL Recordings. It’s one of my favourite projects because I got to incorporate one of my weird passions into the design! I’ve collected old discarded or used packaging for years. I have boxes of the stuff in my attic and dotted around my house from cardboard to vintage tins to giant metal letters. I’ve always been influenced by artists such as Kurt Schwitters, Antoni Tàpies, Peter Blake and this definitely fed into this project. The selection of old packaging that I used for Breakbeat Era was nicked from a skip next to a garage in Ealing, London. Some of it was Japanese from the 1960’s and incredibly worn, tarnished but beautiful in my opinion. I love the way packaging

the front cover. He runs his own design studio called designed for life and a photography studio, called Alex Lloyd Jenkins Photography. You should seriously check the rest of his stuff out. It’s top notch! Have a look here: designedforlife.co alexlloydjenkins.com

tells a story from an era and also cardboard packaging illustrates a journey, from something that has been taped up, stored, sent, stickered, stamped, dropped, written on, torn and discarded or used for a new purpose. I used very thick paper stocks on all formats, used greaseproof paper, bookbinding spines and special tactile paper varnishes. The project broke the budget in terms of costs but the band loved it (they paid for the packaging costs out of the royalties!). I’m incredibly proud of the work and have had many comments about it from contemporaries and design heroes of mine in the music industry. The Advark guys asked me to design a double page spread so I’ve continued the Breakbeat Era theme on the opposite page.” (I bought them some vintage cloakroom tickets from Ebay to stick one number in each issue!).



ONE MINUTE BRIEFS One Minute Briefs is a concept brought to you by Nick Entwistle & James Clancy, an advertising creative team working under the name The Bank of Creativity ( www.bankofcreativity.c o.uk). We got in contact with the lads and below is what they have to say about @OneMinuteBriefs.

We want to change the way people think about advertising and believe that our One Minute Briefs concept can change the way people work which can benefit the creative industry whilst also providing a fun activity to take your mind away from your day to day work and refresh your creativity. One Minute Briefs forces you to rely on your creative instinct by removing the shackles of a corporate advertising world and unleashes our talent to be purely creative which results in some fantastic ideas being produced and… some really shit ones too but that is the beauty of One Minute Briefs. You’ve only spent one minute on it so it’s all good whatever happens.We often find that the first idea you have is the best and, with it’s 60 second nature, how it looks needn’t be considered. That can come later. Using an online community creates a vibrant shared experience in which ideas are pooled together in a collaborative effort at the same time as creating friendships across the creative industry, and even,

across the world. It is also a refreshing way of advertising brands and products instantly which is in keeping with increasing demand for instant response advertising. One Minute Briefs has been mentioned in Campaign Magazine,The Drum, Brand Republic, AdLand and appeared at The Art of New Business in London. In 2013 we are participating in talks and events for the BBC, D&AD New Blood and Freshtival.We’d love to see you there and you can find out more about this or just say hello on Twitter at @OneMinuteBriefs or @BOC_ATM. We’d also love to hear what you think of our project. Please e-mail your thoughts to us at interest@ bankofcreativity.co.uk and we’ll be happy to look at portfolios and give advice where we can too. We hope you’ll all get involved in our project... if you’ve got a minute.


ADVA RK MAG A ZINE PRE SENT S ...

ADVARK HAVE TE AMED UP WITH THE SE LOVELY L ADS TO PRE SENT YOU WITH OUR VERY OWN ONE MINUTE BRIEF. WORK WILL BE JUDGED BY NICK & JAME S WITH A KILLER PRIZE FOR THE WINNER . HOW TO ENTER To enter just create a poster to ADVERT ISE #FRE SHERSW EEK and post it to both @OneM inuteBr iefs & @Advar kMagaz ine on Twitter. You can enter as many times as you like.

THE BRIEF: A D V E R T IS E .. .

#F RE SH ER SW EE K

The winner, hand picked by the OMB lads, will be announc ed via Twitter - so keep an eye out!

KI LL ER

THE PRIZE:

A BOOK CRIT FROM THE MIG HT Y & ! AND

A LIMITED EDITION ADVARK PRINT The smallprint: Unfortunately Advark Magazine cannot provide any travel expenses incurred for the winner when meeting Nick & James (wish we could).Your limited edition Advark print is A2 sized and can either be collected from The University of South Wales’ Newport City Campus, or posted. Winners will be announced at the beginning of October. Any further questions can either be emailed or tweeted to us at Advark -we’ll get back to you asap!

CHE C K O U T MORE O N E MI N U T E B RIEF WIN N ER S A N D E N T ERIE S AT: oneminutebrief s .blogsp ot.c o.uk


Costly Jordan Amblin

Being a designer, or anyone in the creative field, means having proficient skills with the Adobe Creative Suite. It’s an industry standard. And as students we need access to these pretty heftily priced products. As some of you may know, last year Adobe made some changes to the availability of their product line-up by introducing ‘Creative Cloud’ (CC). Basically, it’s an online subscription service that provides the user with the entire Adobe creative arsenal and starts from £46.88 per month (or £15 with student discount). But what is the difference between CC and Creative Suite CS6?

Creativity On the surface, CC is essentially CS6 Master Collection together with a handful of extra products and services all hosted in the cloud. This year marked another change to Adobe’s flagship product with Adobe announcing the end of packaged products, favouring a 100% cloud based service. It was this announcement that sparked controversy within the design society, resulting in the online petition to ‘Eliminate the mandatory “creative cloud” subscription model.’ on change.org. With it’s current count of 38,196 signatures, there’s proof people aren’t happy. But the stats are up against them, with 500,000 premium CC accounts activated within the first nine months.

S h o ul d y o u pay f o r c r e at i v e cl o u d ?

N o w f o r t h e n e gat i v e s

As an avid user of Adobe Creative Cloud, I’d recommend the service to any keen designer out there. The staggered monthly prices are perfect for students; for that low cost of £15 a month (less than 50% of my phone bill) I get access to over £3,000 worth of software, constant updates, and plenty of added extras!

Of course we have to weigh up the pro’s with the con’s. And with everything new, there’s bound to be some things we can complain about! The first bummer, you’ll never own your software. With previous editions of Creative suite, you’d buy your box set with a serial number, granting you ownership. Now, opting into the monthly payments is the only way to access the software and online storage. A reliable internet connection is required once a month to verify your Adobe ID, this could cause some trouble for people who don’t have access to the internet.

T h e a d d e d e x t r as CC comes with 20GB of online storage and a subscription to DPS (Digital Publishing Suite) Single Edition, enabling you to publish portfolios and magazines made with InDesgin to the iPad. Also added is Web hosting with Adobe Business Catalyst, integration with Behance and TypeKit portfolio subscription for access to premium web and desktop fonts.

Overall I'm all in favour for creative cloud. It fits my needs, and access to the latest updates is always nice. But I feel that completely dropping Creative Suite was a little silly of Adobe. Refusing customers the ability to own the software they're paying for is silly, and will affect

Prices for Creative Cloud could increase in the future, resulting in software being too expensive for students and freelancers.

smaller companies and freelancers in the long run, when their software becomes dated and old. But it's with no doubt that Creative Cloud offers the best deal to students with no upfront cost. Which will hopefully drop the number of people pirating copies of the suite.


N EW Z E L A N D P L A Y S S T A R RO L E

LAURA HAIGH

Many have recently began to watch ‘Top of the Lake’, with the debate in people’s minds as to whether Elizabeth Moss is a strong enough lead actress. Speculation pointed to New Zealand being behind the series success, the country fuelled the lead’s character as she engaged with it, unlocking her emotions and driving determination.

Since ‘Lord of the Rings’, ‘The Hobbit’, and ‘Top of the Lake’, newspapers have commented on its magnificent landscape and suggested the place has some serious personality. The Guardian describes the environment in ‘Top of the Lake’ as ‘Sinister... the heart of a demon’ and The Daily Mail describes it as ‘Bleak, forbidding or just plain murderous’ – The perfect setting for a detective series.

PAY PER

GAZE Ailis mullins

It’s all getting very ‘Black Mirror’ with the future of advertising. We won’t be able to poker face our opinions on adverts anymore…

million dollar campaigns. So if their ad was designed to be ‘funny’, how many people are really laughing?

It’s all down to Google Glass; they are looking to monitor your facial expressions and pupil dilations in response to any advert you see or hear in everyday life. This includes both online and in the real world. It’s certainly not a new concept and it’s been in Sci-fi material for years, but now Google has developed a product that is able to bring it to life. Advertisers are able to see if their billboards function; if they get the reaction they were so hoping for from their

Now, I don’t think I’ve ever been in the high street and giggled myself away to an advert, I’ve been impressed by an advert, sure, or found it slightly amusing, but the register of that on my face is pretty minute. It makes me wonder what the future of this concept is or whether it’s just a tool to gauge the effectiveness of an advert, and that’s it. Either way I guess you could really mess up the system by crying to a salad advert and laughing to an RSPCA appeal.


sp e c i al FE A T U RE :

UN P AI D INTERN CULTURE

Getting industry experience is super essential if one wants to work within the creative industry. But there’s a big grey area, an ‘elephant in the room’ in many cases. Many juniors in the creative industry intern with agencies or various types of companies and do so completely unpaid. Which basically means that they hang around and get to grips with certain processes, shadow employees and even produce/help with important pieces of work, all for free.Yet, many other internships offer payment for the time spent within the company. Some people see experience as invaluable and think paying out of the nose for the travel prices and mid-day lunches while having no income is something that should be expected when trying to get one’s foot in the door. But the opposing

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opinion is that not being payed is out of the question and impossibly expensive. The Arts Council England (ACE) has recently raised a fund of around 15m which is to allow room for more paid internships. This did so after discovering many arts organisations were falling short of ACE’s guidelines and indulging in free work from juniors looking to get some of that goldust ‘experience’ to put in their CV’s. ACE states that interns should only be unpaid if they are shadowing, and any time spent working to benefit the company MUST be paid for. We rounded up some different accounts of people who have been on both paid and unpaid internships. Give ‘em a read and see where your opinion lies...


Replacing hills for skyrise buildings rob morris I worked at Golley Slater in Cardiff for two months of my summer before starting my third year of University. Although unpaid I felt this was vital for understanding how an agency works from accounts to creative and all that’s in-between. Some people will say never work for free and some will say take anything you can get. I think there’s a line where you can work it out for your self. If the place your working at doesn’t appreciate you, then leave. If you fit in well, you’re getting given briefs and getting work out, then stay for as long as you can afford to. At Golley Slater I illustrated storyboards for some idents for itv weather. This saved the company a good amount of money that they would have had to pay a freelance illustrator. Although it feels like being used at first, I used it to my advantage by putting the work in my book and showing the finished, live piece at D&AD. So if you’re not getting paid make sure you’re getting something else out of it. Golley was good to get me back in to the swing of things before my final year, but I would not have stayed longer as they could not pay me, apart from a free Friday night at the pub! Now I am on a paid internship at Publicis Chemistry on Oxford Street. I think when at an agency in London it isn’t right to be doing it for free. They have the money; if you’re working for free you aren’t doing yourself justice and you won’t be taken seriously. The cost of living and transport means I would not be able to work at Publicis without the internship. My advice is to apply to every internship you can, work hard and equally importantly, get to know people in the agency. In Advertising everyone knows everyone, so once you’re in, it’s easy to get noticed.

Robben.contact@yahoo.co.uk / Robbencreative.com /@Robbentweets


no money no good Hannah Rogers & Adam Holcroft Having recently completed an unpaid placement, our opinion on the subject has changed quite dramatically. Prior to our placement we were quite happy to work for free in exchange for the experience and knowledge we’d gain in a professional creative environment. We’d just finished university and stepped straight into a placement at one of Manchester’s biggest advertising agencies, we were doing work we love and gaining experience which would hopefully set us up for junior positions when they arose. However, as time passed and our bank balances got scarily low (£1.67, eeek!), we began to question whether the placement was helping or hindering us. Don’t get us wrong, we loved our time on placement but experience doesn’t pay for petrol, tram tickets or food etc. We were fortunate enough to be able to rely on our parents for financial support but at the age of 23, we feel it’s high time we paid for ourselves. We’re now in a position where we are looking for jobs outside of the creative industry, in warehouses, cafes and even as a Christmas elf (!), just so we can raise enough money to continue pursuing our dream job in advertising. At this rate, we won’t be starting our careers in our desired industry until we’re in our thirties, simply because we don’t have the money to do so. Unpaid placements and internships put businesses in the same position as universities, how can they benefit from the best in creative talent when so many are being priced out of the industry? In our opinion, unpaid placements are a way for businesses to get things done for free, after all, if the interns weren’t doing it, a paid member of staff would be and that’s not fair. We feel that there is a place for unpaid placements but that there should be a time limit applied to them. At the very least, businesses should supply expenses for unpaid interns as without this, thousands of talented young people have no option but to look for employment in other sectors, one’s where they will be paid for their input.

@hannahandadam / www.cargocollective.com/hannahandadam


Ô FO X Õ , VERB : BAFFLE OR D ECEIVE Probably the tastiest case of unpaid internships being under scrutiny was regarding two interns who worked on the the psychological thriller, ‘Black Swan’. In late 2011 Alex Footman and Eric Glatt began legal action against ‘Fox Searchlight’ stating that when interning within the company (for free), the work they had produced made its way into the final movie, thus they deserved payment. Then, in August 2012 the case was expanded and took on all unpaid internships at the parent company ‘Twentieth Century Fox’. The Hollywood Reporter quotes: “The lawsuit then got bigger, with amended claims brought by added named plainitffs such as Kanene Gratts, who worked on Searchlight’s 500 Days of Summer as well as Eden Antalik, who participated in the FEG internship program.” The Guardian quotes: “Fox itself says it changed its guidelines in July 2010 to ensure that all interns are paid at least $8 an hour. But the plaintiffs remain angry, claiming that they were made to undertake menial work with little or no educational value that ought to have been carried out by paid employees.” Fox lost the case on the grounds that they were violating federal and New York minimum wage laws, that the internships did not foster an educational environment and that the studio received the benefits of the work. The moral of the story is, if you aren’t being educated much, and your work is benefiting the company… You should be making bank, bro.


How to network with creatives

Don't shove your work in everyone's face Sure, if you go along to a networking event you're going to want to take your portfolio. But who is going to want to have umpteen portfolios shoved under their nose? It's better to use these events to find like minded people and have genuine conversations; that way you'll make great personal connections and be more likely to hear of job opportunities and important industry changes.

Show genuine interest Conversation with genuine interest is highly valued when networking. Find a shared interest with the person you’re talking to; you’re much more likely to be remembered as someone with a shared interest in letterpress or tracking shots.

Seek referrals Creative events are full of people who either want or know someone who wants something you offer. If you’re luck enough to find yourself in this situation, get some of the basic information and their contact details and get in touch with them the next day. Don’t pester them that evening, it’ll come across as quite rude and unprofessional.

Ask open ended questions If you’re nervous about how to keep conversation flowing, always remember to answer closed questions with open responses. For example, if someone asks you a ‘yes’ or ‘no’ question, follow it up with a question that start with ‘who’, ‘what’, ‘why’, ‘where’.


Don't be a smart arse Everyone enjoys a small amount of healthy debate or critique, but having too much of a strong opinion can often come off badly.You want to show that you have balanced opinions, don’t someone’s work to shreds to show that you know what you’re talking about. It’s uncomfortable and whoever you’re with will think you’re a bit of a pillock.

Conquer your confidence There’s a new design event or meetup you want to go to but none of your mates can make it; better just give this one a miss, right? Wrong.You’ll be surprised at how many people go to creative events alone, it’s a great opportunity to meet new and interesting people as you won’t be in your comfort bubble of friends.

Use Twitter Use Twitter to your advantage, follow all your creative heros and keep in the industry loop. Twitter’s a great place to strike conversation with people who have shared interests. Tweet sensibly and use it in moderation, not everyone wants an hourly update on what your cat’s doing.

Go to the pub A lot of creative events will carry on after the prescribed ‘end time’ at a nearby pub. Make sure you go along, it’s a more relaxed atmosphere and is often the most critical stage of networking; where you make a personal bond.

These tips have been approved by fiftyone3 Networking clubs and organisations are a great way of meeting people in the creative industry. Creatives are usually sociable folk so are often found at events like this. It’s important not to go along to an event with the ultimate aim of getting a job or a piece of work from it, instead be open-minded and think about building longer lasting friendships and relationships. Also, look wider than just the creative industry to those that you may be able to do work for once you’ve secure that all important first job. We welcome students and graduates along to Fiftyone3 – find out more about our events at www.fiftyone3.com / @fiftyone3


Q&A Q& AÕs with industr y professionals This is where we’re just too nice, y’know? We do so much for you darling readers! We’ve gone and nagged some people for your sake, who are right in the thick of the creative industry. We sent some questions into the trenches and asked some workers on the front line, fighting in the name creativity, just what you wanted to know.

If you think theres some questions in your mind regarding anything about the creative industry that we could get answered for you, don’t be afraid to get in touch and we’ll do the asking for you! contact.advark@gmail.com @AdvarkMagazine

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Q A

WHAT I MP RESSES YOU IN STU DENT P ORTFOLIO WORK?

Obviously creativity and something that I have not seen before, but well thought out work. I’ve looked through a lot of portfolios when recruiting junior designers and I want to see something that I think I could use. If I ask why did you do that or make that decision, I want them to be able to explain the thought behind it. Some of pieces I remember the best are just scamps, but have made me think ‘why did I not think of that’. I like to see real world briefs if possible, but I know not all courses offer this.

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What I s the in d u st ry m i s s i ng a n d Do yo u thin k st u d e nts & gr ad uate s ca n b r i ng t h at ?

A

I think the industry perhaps is missing the balls to tell clients ‘No’ sometimes. While usually that’s a risky thing to do, I think that everything could have a beautiful design if clients were more aware of the designers skills and more willing to take a back seat. They’ve come to the designer for their designs, it makes sense to trust them the entire way and believe in it. If the designer is good enough, there’s no reason both parties shouldn’t be immensely satisfied at the end. Students and graduates can definitely bring that, especially as they’re more gutsy and ‘fresher’ to the industry.

Q A

What is the m o st i mp o rta nt sk ill a stu d en t ne e d s ?

To be willing to learn, listen and not be afraid to put ideas forward. Think around the brief, ask questions. Also don’t get down hearted about the more simple projects. When you do go to work in a agency you might not be straight on to projects or dealing with clients.You might be asked to work on smaller tasks, resizing adverts, even sorting out a very messy image library - try and do this with a smile on your face - we have all had to do jobs that have not totally excited us.

Q

W hat is t h e be st way to a pproach an agency for a n int er nsh ip or a job?

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I’ve never applied for a job. My jobs have come to me because I took the time to email or call and introduce myself. Agencies are flattered by the fact you’ve done it on your own, not through an application. It shows you’re genuinely interested in the company and that you’re not communicating with them just because they’ve got a job going. Networking is the best form of communication and if you’re honest enough, and talented enough, you’ll get in there eventually.

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h ow did you get in to t h e i n dust ry and did you find i t e a sy or difficult ?

A

I sent out bout 30 CV’s and letters asking to meet people. I had 1 or 2 replies and got a work placement at JWT. Whilst at JWT people recommended me to go and see other designers in the industry. I then did a placement at Fallon and after that I went to TBWA. After 6 months of placements I got my first job at DDB and have been there for the last 7 years. It’s not easy to get into the industry, you need to be dedicated and keep pestering people! If your good at what you do and your nice to work with, you will be fine.


sydney davidson

As a faithful and continuing customer of Apple I have been forever forgiving and defensive over the brand and it’s products throughout the years, and stand by my love for them. However upon the arrival of their long copy print advertisements I felt slightly disappointed. With what seemed like a strong idea full of potential, ended up lacking excitement and the unique, beautiful design and atmosphere that I feel is the core of Apple. The execution was weak, lacked the originality and their usual flair. The copy - a paragraph that is dull and too

corporate does nothing but bore the reader therefore without anything jumping out at me and I found myself re-reading the passage to work out if there was something I was missing. No, there wasn’t and using their own words I realised this is it. This paired with a cheesy stock-photo type image that leaves me wondering what Apple was really thinking when they launched this campaign. The passion behind it seems half hearted, and this alongside my growing dislike for my constantly faulty iPhone 5 makes me wonder, is Apple going downhill?

Disclaimer: this advertisement and all elements used are property of apple inc.

apple fails to revive long copy advertising


Classic film review:

lost in translation

Disclaimer: lost in translation and all elements used are property of Universal Studios Home Entertainment, a Division of NBC Universal.

Peter varga

It’s safe to say that at this point in Sofia Coppola’s career, Lost In Translation serves as her magnum opus, her ninth symphony for which she rightly won an Academy Award for best screenplay in 2004. Lost In Translation is a Rorschach ink blot, its significance and meaning is wholly dependent on the life experience of the viewer. Some might see a tale of cultural alienation, others a tale of existential crisis, some may see nothing at all. To emotionally connect with this film is a sign that you’ve experienced at least one of the themes at play here.

it’s simplicity is the ultimate form of complexity

Bob Harris (Bill Murray) is an American actor well past his prime, he is visiting Tokyo to begin filming a series of commercials for a Japanese whiskey. Whilst there, he meets a young woman called Charlotte (Scarlett Johansson). They are both seemingly at a crossroads in their lives. Bob is going through a midlife crisis and a fracturing marriage, Charlotte feels trapped in a loveless marriage to an emotionally distant photographer. They both feel a sense of isolation and alienation from their loved ones and their culturally different surroundings, however it’s these problems that allow them to connect and begin a blossoming relationship that will let them rediscover life’s possibilities. The cinematography here is stunning. Sophia Coppola uses the frame superbly, nearly every shot holds some form of substance and subtext that drives the development of the main

characters forward. Whether it’s Bill Murray’s comical height difference to the local’s, or an isolated Scarlett Johansson aimlessly staring at downtown Tokyo from the confines of her hotel room, the shots imply just how lonely and alienated the two main characters are. These shots, when viewed in contrast to the scenes where the the two main characters relationship starts to blossom adds a whole new layer of emotional weight to their relationship and shows us just how important they are to each other. The shots and camerawork are restrained and undramatic but still hold huge amounts substance that add emotional weight to the story; it’s simplicity is the ultimate form of complexity. This serves an important and valuable lesson to aspiring filmmakers, as simple, considered camera work and shot choice is a greater asset to a good film than placing awkward and overly dramatic shots in a vain attempt to be clever. By the time the credits roll the characters relationship has allowed them to rediscover themselves and their potentials. Their unlikely relationship acts as a window that allows them to see the problems they have faced or are likely to face if changes are not made. Bob’s midlife crisis and strained relationship with his wife allows Charlotte to see where her life could go if she continues to be with her husband. Charlotte’s youth allows Bob to rediscover his and break free from his troublesome mindframe. It is left to the audience to decide what futures lie ahead for Bob and Charlotte, it is uncertain where they’ll go from here or if they will ever see each other again. The film leaves us with a series of hauntingly beautiful and painful questions, the answers to which we will only find deep in our hearts and minds.


C o mp a n i e s m a k e a difference by withdrawing ads Tom Hill

If something is funded by advertising – surely it can be killed by removing its source of funding? A popular website recently gained negative mainstream media attention after facilitating the bullying of a 14 year old girl who sadly went on to end her own life. The website was Ask.fm – A social networking website based in Latvia, where users can ask questions of each other with the option of anonymity. Prime Minister David Cameron called for a boycott of “irresponsible websites” following the death of the 14 year old, who was a user of the site. Some of the UK’s biggest household names immediately revoked their advertising from the site as the founders of ask.fm desperately tried to reassure the world that they took abuse seriously.

It is said that the website made £5m a year in advertising revenue. This is almost certainly no longer the case. Advertisers from BT to Laura Ashley to Google, acting as a third party advertiser for countless other companies, all decided to walk because they did not agree, and knew their customers did not agree, with the website’s content.

kill er For Mac OS

Withdrawal should protect a company’s reputation from the damage association could cause – could it also have a much larger effect? Advertising is the revenue that allows many websites and services to exist. If the advertisers walk – surely these websites and services have to change their ways before the advertisers would even consider coming back? If advertisers took a principled stand on an issue – the issue would have to be sorted before the revenue could return. This all draws the question – do brands know where their adverts are being placed online? Complex algorithms make the decisions for them to target the right audience at the right time. The way in which the web advertising placement model currently operates dictates that it’s easier to remove afterwards than say no before. This same logic could be applied to anything supported by advertising. If the public thinks something supported by advertising is bad – the advertisers can remove their support and force change in line with what the public wants. Could companies withdraw their advertising support from the Winter Olympics in Russia because their customers strongly disagree with the Russian anti-gay laws? Could companies threaten to withdraw their advertising from a TV series because their customers don’t like the way a plotline is moving? Companies retracting their support can easily kill something kept alive by advertising revenue. This in some ways means the companies advertising are in charge. In some ways you could say that ‘propaganda’ does control the media.

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searchy wordy This is our very own, home made Searchy Wordy. The words you have to find can be spelt forwards, backwards, downwards, upside-downwards, diagonally and backwards-diagonally. Just to keep it simple...

A D O B E R O S R O I R E T N I

V Q N R E T N I E R E E V E S U

S P A A B I B R A P T E H T Y H U E I P E I O T X C R H I K Q A

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E T R M T G R I R F E Z E M L P Y

FIND 'EM SABBATH HELCOOP LEECOURT APPLE LOST PUBLICIS OMNICOM INTERN GLASS ADOBE

FRESHERS BREAKBEAT NETWORK SPEED BLACKSWAN helvetica thepitch interiors reeves brightideas

D S E O R X H E L V E T I C A N

E R E A O L Q T S H E R C I N M V P Q T U P H P S E M O T S T O Y I A C R J D L V M F E E E R H H Y E V J A P P N R D T A W S K

T R S O Y V E H I F G A S L Y C

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WINner! Issue #001’s lucky winner was Rhianna Jones. Check her out with her prize! The first person to tweet us a picture of their completed Searchy Wordy at midday on 11 October will be crowned issue #003’s winner. So what are you waiting for? Get Wordy Searching, Searchy Wordies!


WE HIGHLY RECOMMEND... Ailis Mullins

Books T h e Ad v e r t i s i n g C o n c e p t B o o k We all start from humble beginnings and Pete Berry’s The Advertising Concept Book shows you the importance of ‘scamps’. All advertising pieces start from doodles; you don’t have to be the next Michelangelo if you’ve got a strong concept, this book’s a must read if you need to be reminded of your design roots.

Graphic design Rules: 365 essential dos and donÕts Who says you can’t write the book on designing? Graphic Design Rules: 365 Essential Design Dos and Don’ts does just that. ‘Thou shalt remember…” it’s the new design bible. Now there’s a religion I can follow! This book is great for a starting point, now get cracking!

D&AD annual 2012 What are the big cats doing? Every designer needs reference material and the mecca of this is the D&AD annuals, better than the Beano and we recommend the latest edition D&AD 2012, but any will do. Grab those post-it notes and start bookmarking!

Know your opinions: Graphic Design Knowing your ABC’s in graphics is important... We want to see the: ‘Know Your Onions: Graphic Design’ tucked under your arm to show you think so! It’s a pocket-sized bundle of information and a must, it covers the basics and also has a handy glossary so you can learn the lingo and practice design like a pro.

WriterÕs choice Asian graphics now! Graphics is a worldwide occupation, take a little business trip and buy a graphic book from overseas, I recommend ‘Asian Graphics Now!’ A window into another culture can be a wonderful thing.


TV & FIL M

H e lv e t i c a Who knew such rich history was behind a typeface? ‘Helvetica’ is a feature length documentary exploring the birth and the use of the world’s most versatile font and the people behind its creation.

Art & Copy Do you want a little window into the advertising world? Well make sure to get a cloth and some vinegar, ‘Art & Copy’ is as crystal clear as it gets! See the frank natured and blunt creatives who wrote the book on advertising and then shredded it in your face.

THE P ITCH Want a reality show that isn’t about cooking or weddings? ‘The Pitch’ is like a cross between ‘The Apprentice’ and ‘Ready Steady Cook’, where two top creative agencies battle it out over the account of one client. Watch them sweat under pressure and get your a unique insight into the fast paced world of advertising, no holes barred! Ruthless and hilarious, says I!

mad men Titled under ‘period drama’ yet this is no Downton Abbey! They’re making season 7 so you better get Netflix ready, ‘Mad Men’ is a drama about advertising in the 1960’s. The show has always received great hype and is a must watch because of it’s authenticity to the time period and how things were done back then.


t i m e f o r a c at c h u p !

We caught up with our old friend, Dave Reeves (our featured photographer from issue #001). We asked him what he’d been doing and this is what he said!

the fall itself. I decided to capture it under long exposure simply to emphasise the motion and flow, but close up details reveal the power and violent force that the water paossesses.”

“After a long summer travelling and snapping around the UK, I have finally returned to show my new images! This image was taken on a walk to find a waterfall however the movement of the water in the river far surpassed the beauty of

If you have been reminded of how awesome he is and want some more, view the rest of the images at: www.davidreevesportfolio.blogspot.co.uk

leo burnett goes crazy New US show ‘The Crazy Ones’ featuring Robin Williams might seem like any day at Leo Burnett, and there’s good reason why. The agency’s Executive Creative Director, John Montgomery, works as a consultant and exec producer on the comedy. The pilot even features one of LB’s biggest clients, McDonald’s (as well was Kelly Clarkson). The show’s title has a connection with a competitor’s advertising; TBWA’s ‘Think Different’ campaign for Apple featured the tagline ‘Here’s to the Crazy Ones’. Whether this was done purposefully is unclear, anyhow it’s a nice little nugget of information.

We’ve got high hopes for this modern day Mad Men and hope it makes it’s way to UK screens soon!


h av e y o u g o t a b r i g h t i d e a ? B r i g h t I d e as at t h e U n i v e r s i ty o f S o ut h Wal e s i s t h e plac e t o c o m e t o ga i n i nvaluabl e sk i lls an d e x p e r t i s e t o b e abl e t o g e t y o u o nt o t h e ca r e e r la d d e r , o r e v e n c r e at e y o u r d r e a m j o b !

Events Whether you think you’ve got the next big idea or you just want to get yourself skills and experience, we’ve got something for you. From bagging yourself some great prizes in Pint ‘n’ Pitch, working on a live advertising brief for Cineworld in ‘Concept’ or even taking on the 24 hour challenge in ‘Ignite’, our range of events and activities are all about you getting your dream job. Workshops We offer a whole host of different master classes to meet your needs, all aimed to give you the skills you’ll need to get yourself a good place in your desired profession.

mentoring Book yourself a one to one mentoring session to talk to our specialists and find out how to get your idea off the ground. bright ideas den your chance to pitch for up to £1000 funding to help kick start your bright idea (no matter how small) Come along to Freshers Fair to get your goody bag (full of treats) and be in with the chance to win some fantastic prizes. We’ll be there to answer any questions you might have.

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@my_brightideas

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