Have you ever looked at a crowd - at football for example - and
thought: ’I’m staring at 60,000 male orgasms’?
Probably not, but it’s a fact. You see, the sad truth is that creation
only requires the gratification of one half of a creative duo.
And, somewhat unfairly in the case of men and women, it’s not the one
who has to do all the graft.
In this day and age, that’s just a DJ’s link to the relationship between
copywriters and art directors at a time when copy is deemed all but
These days, it seems a copywriter is merely required to spit out a
headline, leaving the art director to spend weeks in gestation, lovingly
nurturing and crafting the work.
Not so. As Dr Ruth tells us, the greatest happiness of the greatest
number is achieved by mutual climax. Ill-conceived ideas spring from
disharmony, from abandoned art directors, over-excited copywriters or
clients keen to impregnate the work with irrelevant product info.
And so (warming to our theme) this is how we shall judge today’s work -
did the earth move for all concerned, or was it merely produced by a
couple of tossers having a quick Barclays at the client’s expense?
First up are those silver-tongued seducers from the former Simons Palmer
Clemmow Johnson. Goldfish is a groovy name. Its absolute irrelevance to
both British Gas and credit cards means that punters need to make a
We’ve heard Goldfish discussed in the ’what the ’ell’s that all about
then’ fashion - meaning that punters are actively pursuing information,
instead of passively receiving it. Bingo.
The choice of Billy Connolly is inspired because, although he’s weird,
he’s safe-weird, so whatever he’s on about must be kosher. The
commercials are neatly written and nicely art-directed and the
mail-packs are suitably dull, denoting a serious business communication.
But nowhere, nowhere can we find any information telling us how much you
need to spend to get 1p off your bill. Fishy eh? We suspect the deal is
duff and so, we expect, will the punters. All in all, a thoroughly
professional seeing to, but we shan’t alert the maternity ward yet.
Next Howell Henry Chaldecott Lury - the balaclava and bottle of
chloroform brigade. Ugly ads work, we all know that, and these ads for
the AA are ugly. But then, so is the marketplace. This progeny seems to
be the result of a vigorous threesome between the creative team and
client. The client is undoubtedly sated, but perhaps the copywriter
feels cheated and the art director unloved? Were they really needed?
The new VW Passat. Did more than one team work on this? It looks like
the result of an orgy in the creative department. That’s not to say that
the work is bad, but it lacks consistency.
Telewest. Somewhere an art director is lying back smoking a cigarette
and a copywriter is wondering what happened.
Shaun McIIrath and Ian Harding are the joint creative directors of
Agency: Simons Palmer Clemmow Johnson
Client: Gold Brand Development
Objective: Maintain brand awareness, communicate benefits of card and
Account handling: Jerry Robinson, Danny Josephs
Copywriter: Ros Sinclair
Art director: Sean Thompson
Creative directors: Paul Hodgkinson, Andy McKay
AA HOME INSURANCE
Agency: Howell Henry Chaldecott Lury
Objective: Raise awareness of AA Insurance
Account handling: Marc Sands
Copywriter: Pete Kirby
Art director: Tony Henry
Creative director: Axel Chaldecott
Agency: Barraclough Hall Woolston Gray
Client: VW Passat
Objective: Generate a feeling of anticipation prior to the launch of the
Account handling: Catherine Bradshaw, Miles Taylor
Copywriters: Debbie Bester, Derrin Stent
Art directors: Sonia Singleton, Sally Clack
Creative director: Chris Barraclough
TELEWEST Agency: Dolphin Client: Telewest
Objective: Persuade potential customers that cable TV offers programming
for all the family
Account handling: Michelle Lissoos, Jonathan Davies
Copywriters: Greg Phitidis, Kerry Finlay
Art director: Dave Brady
Creative director: Chalky White.