AGENCY FOCUS: Digital creative directors, part 2

Q: How did you get here?

As a kid I spent most of my spare time either drawing wacky machines or trying to build them in my Father's garage.

This fascination in technology - and applying it in imaginative and unusual ways - has underpinned my whole creative career.

But before I got there, I studied Graphic Design and worked as a print designer but became increasingly interested in the ‘big idea'. I ended up at the FCB office in Cape Town.

Everything changed a few years later when, while working as an art director at Publicis (Cape Town), I downloaded a trial version of Flash.

Suddenly, I was able to use animation and interaction to bring my advertising ideas to life - I found this irresistible and soon left Publicis to pursue a career in ‘digital'. It's great....where else could you be ‘architect, builder, and interior designer'?

Q: What technology does a digital creative director have to be au fait with?
You get different flavours of digital creative directors. I started of learning HTML and Javascript from online "Web Monkey" tutorials in 2000. Eventually I became fairly proficient in PHP and Flash Actionscript - but I don't think this is usual.

Today's open source culture makes it possible to get by with only a cursory understanding of technology, especially if you have the budgets to employ or outsource to specialists.

However, for the most part digital budgets and margins are very tight and the more skills you have in house the better. To this end I find myself diving into Photoshop, Flash and even After Effects.

Q: How is your agency's creative department structured?
I report to an ECD - we work together very closely, sometimes he will take the lead on a project, sometimes I will.

Our creative studio is mixed: we have online and offline creatives sitting together - and although we each have our specialisms, it is not unusual for someone to work on both online and offline briefs.

For example, I recently worked on an experiential pitch, which we went on to win.

Q: Any work that you're particularly proud of?
Highlights over the past year would be the Lurpak ‘Saturday is Breakfast day' work - it made use of some very playful interaction, such as blowing into the microphone to cool your food.

Local Treasures for Muller was also a strong piece of work. It was the first time we had mixed mapping technology with user generated content.

We've done some very dynamic work for Coke Football which includes sophisticated motion graphics - all produced in-house, another first for the agency.

Q: What are the pressure points for digital creative directors
Maintaining the creative integrity of the work is the most stressful and time consuming aspect of my job.

From the moment you have a good idea it is constant battle; first you have to sell it to the client, then you have to build it (normally for half the money you would like) and along the way deal endless curve balls that threaten to derail the project at any moment.

Q: If you're at a dinner party and someone asks you what you do for a living, what do you say?
It changes dependent on the audience. Normally I start of by saying I'm in online advertising, and the quickly make it clear that I'm not responsible for all those awful banner ads!

Ewan Gee, digital creative director, Bluhalo (GyroHSR's digital)

Q: How did you get here?
In the 1980s, we were asked at school to fill in a short questionnaire and the computer, using complex algorithms and 1980s electronic fabulousness, would spit out an answer, a bit like that one on Hitchhiker's Guide to the Galaxy did.

My answer? You guessed it: advertising.
 
And then I went off and did a business studies degree. Oh well. At least I know how the wheels of industry turn.
 
Q: The job move that made the big difference?
Traffic Interactive, in the dying months of the 20th Century. Those kids on skateboards knew a thing or two about digital.
 
Q: What technology does a digital creative director have to be au fait with?
I'm going to stick my neck out here and say digital technology.
 
One of the designers here doesn't watch TV. He's never heard of Road Wars. Instead of studying up and becoming taciturn and morose in front of a non-interactive soul-crushing cavalcade of reality banality, he's out on the social media sites talking to his mates. Or listening to stuff on Last.fm.

Or choosing his own programming schedule on iplayer. And doing all the stuff related to his work, which he loves, that he doesn't get time for during the day.
 
Now, I'm in my 40s, so you might think I'm about ready for my i-pipe & e-slippers (app, anyone?), but not a bit of it.

I'm thinking about semantic Web, social media, mobile, and trying to get a handle on the Next Big Thing. Someone here just knocked up an augmented reality app the other day, just for the fun of it.

There's hope for me yet - look at Stephen Fry: he's 52 and he managed to introduce me to Audioboo.
 
You have to know about how people are using the technology we have, why they're using it, what the benefit is. And then work out how we can make actually make use of the technology that's created buzz already e.g. www.glassesdirect.co.uk/video-mirror.

Q: How is your creative department structured?
There's more structure at GyroHSR, the network agency (ECD, chief creative officer, etc), because it's bigger. I manage a team of creatives, simple as that.
 
Q: Any work that you're particularly proud of?
I'm proud of the creative that launched LG's Secret mobile phone the UK, launching the Renault Megane in 2008, and the innovative (for 2005) Yahoo & MSN homepage takeovers to launch the new hot Clio Renaultsport.

But my favourite is probably my creative pitch work done in April this year for a major financial client, which netted my last agency £1m across multi channels, including ATL.

Mike Watson, creative director, Euro RSCG 4D

Q: How did you get here?
I studied Art Direction at the AAA School of Advertising in Johannesburg, South Africa. Once I had mastered Magic Markers I thought I'd improve my spelling so I specialised in copywriting in my final year.

My first copywriting job was at DDB South Africa. I headed to London in 2001. It was the tail end of the last recession and finding work wasn't easy. I delivered furniture for a while before joining Euro RSCG as their digital copywriter and I haven't looked back since.

Q: How is your agency's creative department structured?
I'm fortunate enough to work alongside two offline creative directors who, besides from being really amicable, are interested in the digital environment.

Q: A typical day?
My day went a little something like this; alarm, feed baby, email, train, email, think, work, phone calls, meetings, check work, interview potential designer, buy Eurogamer 2009 tickets, email, jump on the train home, kiss wife, feed baby, sleep.

Q: Any work that you're particularly proud of?
I'm proud of the Act on CO2 Carbon Calculator we built as its results prove that it is helping to change social behaviour. We also have a fantastic Peugeot campaign that launched this month.

Q: If you're at a dinner party and someone asks you what you do for a living, how do you describe your role?
I tend to say that I get paid to come up with ideas for brands that you can play with on the internet.

Martin Blinder, creative director and associate partner, Essence 

Q:  How is your agency's creative department structured?
Essence is structured a bit differently to other agencies.  We have adopted a more consulting firm structure in that we are client partner-led.  We feel this gives us a closer relationship with our clients and a better, more senior level, understanding of their specific needs.  I am creative director but also associate partner.  

Q:  Can you give us a typical day in your life?
I woke up at 6:45 to put together some thoughts for a 9am meeting with a major Sporting Authority and prospective client.

At 9am spent two hours with them, coming up with ways to engage their audiences in East Asia.

By 11:30 I was back in the office having a quick status with the team and reviewing some client feedback on a project with one of my designers.

At 12:30 was putting together some thoughts (with a sandwich in my hand) for a 1:30 meeting with a major online clothing retailer.  

By 15:30 was back in the office trying to answer as many emails as possible, at which point I received a follow up from my 9am meeting to help the prospective client with a pitch he had for his CEO the following week.

At 16:30 sat down with our head of design & build and our creative producer to go over the next week's work and identify any potential resourcing conflicts (today is Friday by the way).

17:30 review some final work from one of the designers before it goes to the client.  I give my approval and out it goes.

18:30 on my way home to my wife ...

Q: Any work that you're particularly proud of?
In general I'm very proud of all the work we've done for Google.  They, like many of our clients, have set the bar for excellence in simplicity yet effective creative, and to be their agency is both a privilege and a daily challenge.
 
Q: If you're at a dinner party and someone asks you what you do for a living, what do you say?
First I try to eliminate all acronyms and industry buzz words from my mind, and then I say, I help companies come up with ways to engage with their customers... (is 'engage' a buzz word?) And then I wait for the next question...