This is our spot, and it was part of AT&T’s Winter Olympics campaign. It was a bloody cold shoot.
When The Observer said we could design the trophies for the 2013 Observer Food Monthly Awards, I instantly knew it was a chance to do something more. It took 4.28 seconds to think up the idea of edible trophies, and Heston kindly made them himself. Winners thought they were picking up the traditional copper plate, and it was only when Heston smashed one to pieces on stage did people realise that they were made of white and dark chocolate with a passion fruit caramel filling.
We were asked by The Observer to get more people to vote for their favourite places to eat in the Observer Food Monthly Awards. We came up with the idea of ‘putting your favourite on the map.’ These press ads came first, and we created an interactive map that housed the public’s suggestions and tweets to accompany them. The map also contained all the winners from the past ten years of the OFMA. A huge illustrated poster of the UK featuring this year’s winners will follow later.
Audi wanted to highlight the level of comfort in their new A4, A5 and A6 models, so we created this series of double page press ads.
We won the pitch for Dove Men+Care with this idea, and for an entire year we worked on their global repositioning. These are the first three chapters to be released – there’ll be many more to follow.
Our job was to create a TV spot to launch KFC’s new breakfast range. We wanted to capture the magic of morning, and show people that KFC chefs now do the early shift. Just so you know, this script originally started with ‘open on an empty New York street’, but the CD decided that a two-night shoot in Slough would be better.
We split this campaign into two main sections, both focusing on ‘what it takes to win’. For the first part we shot the four world cup winning pundits: Lawrence Dallaglio, Michael Lynagh, François Pienaar, and Sean Fitzpatrick. We asked them their thoughts on ‘what it takes to win’, and illustrated their quotes (A portrait of Dallaglio from this series now hangs in the permanent collection of the National Portrait Gallery.)
The second part of the campaign ran post-game: we created a series of ‘tactical print ads’. They were a real challenge to produce and supply in such a small amount of time. The day started with us watching the game in the ITV studio, and interviewing Mr Dallaglio and friends immediately after the final whistle to get their thoughts and opinions. We then designed and supplied the final artwork, all in under six hours. The digital outdoor aspect is explained in the video.
In March 2011 we were sent to Iceland to shoot a TV spot and the print for Dunlop’s new Wintersport 4D tyre. The shoot was a disaster, and the Icelandic Met office told us to drop everything and get off the mountain because a storm was coming. Anyway, we re-shot the print in sunny Brighton, and here it is. The fantastic Ben Stockley used his camera wizardry to transform southern England into something altogether colder.
We were asked to promote the England vs Wales match and let fans know that it wasn’t just a pre-World Cup practice. We shot this image at Twickenham, the home of English rugby. (We accidentally dyed Haskell, Hape and Wilkinson’s kit pink with all the red smoke). This was used in both print and poster.
The England Rugby team’s posters were previously too cluttered and messy, so when we got this brief we went back to basics. This simple approach kept the ads clean, simple, and elegant. This ‘look’ was used in press, posters, ticketing, and online for the 2010-2011 season.