Six Iconic Guinness Ads

Nothing says St Patrick’s Day like a cold pint of the black stuff. So to celebrate Ireland’s favourite son, we’ve pulled together the very best Guinness Press Advertisements and Posters from the D&AD Awards Archive.

Not Everything In Black and White Makes Sense – Campaign

Award: Nomination / Press Advertising / Mixed Media Campaigns / 1997

Agency: Ogilvy & Mather

Client: Guinness Brewing GB

Nipple

Award: In Book / Press Advertising / Consumer Magazines – Colour / 2000

Agency: Abbott Mead Vickers.BBDO

Client: Guinness

Ironing

Award: In Book / Posters / Consumer Posters – 6 Sheet / 2000

Agency: Abbott Mead Vickers.BBDO

Client: Guinness

Lolly / Iceberg / Fan / Fire Bucket / Fridge

Award: Yellow Pencil / Posters / Consumer Posters – Campaigns / 2000

Agency: Abbott Mead Vickers.BBDO

Client: Guinness

Tetris / Chinese Painting / Novel

Award: In Book / Art Direction / Poster Advertising / 2009

Agency: Grey Beijing

Client: Durty Nellies Irish Pub Beijing

Whether you are busy at work or at play, a pint of Guinness is always what you look for at the end of the day.

Guinness Draught in a Bottle – Trois

Award: In Book / Art Direction / Art Direction for Poster Advertising / 2014

Agency: BBDO Singapore

Client: Asia Pacific Breweries Singapore

Guinness Draught was launched in a bottle to reach out to more Guinness fans. In terms of taste, GDIB was almost identical to the Guinness Draught, but as the ritual of being served a pint is different from that of a bottle, regular customers needed convincing. BBDO Singapore re-imagined the familiar Guinness pint iconography within the design language of the bottle, creating the illusion of ‘a pint in a bottle’. Metallic gold was the contemporary palette of choice and traditional lithography printing was used to allude to the coming together of the old with the new.

via Six Iconic Guinness Ads | D&AD.

 

Seven Brave and Powerful Magazine Covers

The D&AD Awards Magazine & Newspaper Design category celebrates the absolute pinnacle in digital magazines, magazine design, supplements, editorial design and magazine layouts. But sometimes it’s the simplest of magazine cover designs that win over a jury. The examples below show D&AD award winning, powerful front covers that revel in their own bravery.

Bloomberg Businessweek

Award: In Book / Magazine & Newspaper Design / Magazine Front Covers / 2012

For Bloomberg, the goal is to design original, surprising covers each week that make people pick up the magazine. They strive for something that looks a little removed from what people traditionally perceive an American business magazine to look like, yet something accessible to anyone passing a newsstand.

Bloomberg Businessweek – Steve Jobs 1955-2011

Award: Yellow Pencil / Magazine & Newspaper Design / Entire Magazines / 2012

Official word of Steve Jobs’ death reached ‘Bloomberg Businessweek’ as the staff of 40 was finishing a regular issue. The regular issue was scrapped and the staff spent all night finalising the special issue. The special issue provides an in-depth look at the man behind all the products that the world admires.

Granta 110: Sex

Award: In Book / Magazine & Newspaper Design / Magazine Front Covers / 2011

Granta magazine tackles numerous themes through literature and art. In this issue, they addressed the toughest topic of all – sex – from an array of angles. 110 provides an example of how Granta try to use cover art to initiate dialogue and as the catalyst for branding universal topics. The cover was printed on a tactile, velveteen stock, playing on our sense of touch.

The New York TImes Magazine Israel vs Iran

Award: In Book / Magazine & Newspaper Design / Magazine & Newspaper Front Covers / 2013

Agency: There Is

For the ‘Israel vs Iran’ cover, a war- torn approach was in order, creating the headline in the smouldering remains of the aftermath of conflict. The challenge was to express drama in a rough yet clean aesthetic using raw and evocative materials. Achieving clear legibility while retaining an organic feel to the type was key to creating a bold typographic piece that resonated strongly with the subject.

Wallpaper* Work Issue

Award: In Book / Magazine & Newspaper Design / Magazine Front Covers / 2009

Four covers were produced for Wallpaper* magazine’s first ever work-themed issue, using bold, striking type, with their own slogans: ‘Work is Play’; ‘Work More Live More’; ‘Work Hard and Be Nice to People’; and ‘Play and Work and Play’.

Typical of Anthony Burrill’s style, the covers were an apt continuation of his cult ‘Work Hard’ poster. The four collectable covers also used an experimental matt printing technique to further the tactility and individuality of each issue.

Time Magazine

Award: In Book / Magazine & Newspaper Design / Magazine Front Covers / 2009

Agency: Euro RSCG

Time Magazine approached Euro RSCG with an opportunity to create a cover for their special issue, ‘100 Most Influential People’. They decided to use all 100 influential people in the composite of this one face.

New York Magazine – The City and the Storm

Award: Nomination / Magazine & Newspaper Design / Magazine & Newspaper Front Covers / 2013

New York Magazine sent photographer Iwan Baan up in a helicopter as Hurricane Sandy lifted and produced the image that, for many New Yorkers, told its own story. Because most other air traffic was grounded, the controllers allowed the helicopter a much higher ceiling than usual, giving Baan a far better vantage point than he’d otherwise have. We see laid out before us the familiar silhouette of lower Manhattan, inked out; a visual sinkhole – and then, to the north, slicing across as if with a razor, the dividing line that demarcates a city blazing with light.

via Seven Brave and Powerful Magazine Covers | D&AD.

 

The Secret Life of Eric Kallman

Eric Kallman has an incredible two D&AD Black Pencils and nine Yellow Pencils to his name. With so much success, we thought it only fair that he shared some of his secrets. Here he sheds light on some of his most (in)famous TV commercials and integrated campaigns.

Eric Kallman is currently at Goodby Silverstein & Partners, having previously worked at Barton F. Graf 9000, Wieden+Kennedy and TBWAChiatDay. Unbelievably, he has two Black Pencils and nine Yellow Pencils at D&AD, and in 2015 he will be Foreman of our Professional Awards Integrated & Innovative Media Jury.

With so much success to his name, we thought it was only fair that he shared some of his secrets. The stories below shed some light on some of his most (in)famous TV commercials and integrated marketing campaigns.

“I don’t know if I’ve ever coined a term for what I do – I write ads like everyone else. People tell me my style is distinct, but I don’t think about it that much. I just do my thing.

I’m a big fan of Monty Python, Saturday Night Live, Tim & Eric. I’m a lucky dude and the stars aligned with the weird part of my brain.

In most cases I enjoy the writing and prep. But with these campaigns, we had surrounded ourselves with A+ people, and are doing stuff that’s pretty radical, really different.”

Old Spice

The Man Your Man Could Smell Like

We had an established relationship with Old Spice and an existing rulebook for the campaign. But the different insight for bodywash (rather than deodorant) was that men buy their own deodorant, but women buy bodywash for their boyfriends.

We had about five days to turn around a campaign, using the same established parameters, but this time it was aimed at women.

It was myself and my partner Crag Allen penning it. The first thing we wrote was “Hello Ladies”. Usually we were visual, but this one came out as dialogue; we thought we had a radio script. We had no idea what it could look like.

We ended up writing six or seven of those scripts. There was a ‘hero’ version that Craig my partner had, but it didn’t have an ending. So we just picked out “I’m on a horse” from a different script and put that at the end.

The director, Tom Kuntz, told us he’d like to try filming it in one take.

So everything you see is real, apart from the diamonds on the hands. It was actually shot outside on the beach. It’s a smaller set than you’d think, but was incredibly intricate – to the extent that it was one guy’s job just to rip the towel off.

Black Pencil / TV & Cinema Advertising / TV Commercial Campaigns / 2011

Response Campaign

After The Man Your Man Could Smell Like was released, it blew up. Ian Tait was looking at the YouTube comments, and he said, “usually people comment on the commercial. But here everyone’s writing to the character. Let’s write back.”

Our first idea was to insert a tiny video player into the comments sections, but that wasn’t possible. So we simplified it.

It wasn’t a big production. I remember going into it, we were sat behind computers writing things in real time. I remember someone saying ‘welcome to the most work you’ll ever do for a Pencil’. We were just in a little studio, cut off from everyone. Afterwards we went back to Wieden’s and everyone was celebrating. Craig and I just winked at each other.

Yellow Pencil / Writing for Advertising / Writing for Film Advertising / 2011

Terry Crews

This stuff was fun because we already had the character figured out. We were trying to cast a bodybuilder and it was an account guy who suggested Terry Crews.

So on the shoot we were in a garage with Terry Crews, and a green screen. It was an unorthodox experience.

He’s a very intelligent, well educated, professional guy. He was very well spoken but he would go back to the trailer, and come out in character: pumped up, eyes twitching, intense.

Skittles

Beard was the first spot Craig and I did. Skittles already had the Taste the Rainbow campaign; which was epic, but not funny. Skittles was the magical candy; it was always a situation where something magical happened in a mundane situation.

Yellow Pencil / TV & Cinema Advertising / TV Commercials 21 – 40 Seconds / 2007

Shooting Touch, the first thing we did was blow up this clear plastic desk that we filled with Skittles. We had a desk built with electric charges, and a million Skittles in it. When we blew up the desk the far end exploded and fell but the bit near the camera didn’t. We thought The Mill could fix it in post… but they couldn’t. So the effects crew spent the afternoon building another one.

The Skittles themselves were in a million big bags; they send a truck load and someone’s job was to open each bag. I remember shuffling Skittles into this clear desk thinking we weren’t going to get the shot. But when it blew up the second time it worked – and a million Skittles hit me in the face.

Those are all real Skittles.

Yellow Pencil / TV & Cinema Advertising / TV Commercial Campaigns / 2007

The very next day we were filming Stable. Our actor with the udders looked really out of it. He almost collapsed after the first line. We were in the middle of nowhere, dairy country, and we had to call a doctor out. He came, and saw the guy lying on his back with prosthetic udders on him… The doctor just said he hadn’t seen anything like it before. Thankfully the actor recovered, and then we shot through the night.

Those two days were a mixture of blur and confusion.

Nomination / TV & Cinema Advertising / TV Commercials 21-40 seconds / 2008