Insight, creativity and collaboration. Our afternoon at D&AD festival.
We headed down to D&AD Festival on Friday at the Truman brewery and caught some great creative as well as some insightful talks from keynote speakers.
Guinness, the craft of advertising, design and brewing.
The Guinness panel featured Graham Shearsby (Chief Creative Officer), Paul Brazier (AMV/BBDO), Kerrin Lumsden (Diaego) chatting to Patrick Burgoyne of Creative Review about Guinness’ 260 year commitment to creativity and innovation through design, advertising and beer.
The panel discuss the variations of the Guinness logo through time, including the meticulous creative process used to get under the skin of the Guinness brand. This included creating harp prototypes, letterpress harps and utilising the workmanship of the best industry talents – old blood and new blood.
Guinness’ commitment to powerful and emotional storytelling was explored through a retrospective of its advertising, featuring iconic adverts, and innovation which broke the boundaries of the time.
An emphasis was placed on the importance for Guinness to maintain its colours, heritage and iconography whilst remaining contemporary – a challenge accepted by all creative teams working for the brand.
Sir Paul Smith, my creative process.
Sir Paul Smith spoke about his creative process. From his beginnings in a 3m squared shop to his success today.
He spoke of the saturated market where we are all fishing for the same business and advised industry success can only come from creativity.
“Try to do something that is odd, different, new, surprises people. That’s the job we’ve all got.”
There was an emphasis on striking the balance between technology and manual skills to harness creativity, how simply using a pencil more often leaves room to make mistakes and capture accidents.
Annie Atkins, designing for film.
Annie Atkins, took to the stage to relay her experiences of graphic design within films. Among many other notable series and film productions, Annie worked as a designer on The Grand Budapest Hotel, responsible for every graphic that we see in the film.
Annie described the meticulous process required to maintain continuity, not to mention the time and craft poured into the work. Annie’s favoured working process dictates wherever a graphic would have been created by hand she will create it by hand for the film. This results in some extraordinary craft and design skill for signage, menus, documents and all kinds of other props.
Most films require between 8-12 exact versions of every prop made for use on multiple takes, but for a Wes Anderson film Annie and her team created 20-30 versions of some items, by hand, using original processes wherever possible.
It was fascinating to hear in such detail the level of effort and intensity of craft used for a Wes Anderson film.
For more on D&AD, check out the full list of speakers and events here.