11th June 10
Posted in Uncategorized
9th June 10
Posted in Uncategorized
This week is Internet Week in New York.
On Tuesday, Boulder Digital Works (I’m lucky enough to be on the Advisory Board there) hosted an evening at the Art Director’s Club called ‘Evolve!’ at which they launched their neat new website (created by Modernista!) – take a look at: http://bdw.colorado.edu/, it’s very cool. There were a number of short presentations from some BDW board members, including Scott Witt (just recently moved to a new role as Creative Director at Apple), Shane Steele (just recently moved to be be VP Global B2B Marketing at Yahoo!) & Scott Prindle, Technical Director at CPB in Boulder. I tagged along and got my ten minute slot.
I thought I’d use it to highlight why we need places like Boulder Digital Works in the first place. In short, to produce a new breed of hybrid creative; what we call ‘T-shaped people’ – awesome in (at least) one area, plus highly collaborative and at least literate in many other things. So blending both the right skills and the right attitude. Far too often the latter – an appetite for all things open and collaborative, a readiness to leave ego at the door - is sacrificed at the expense (frequently, the *great* expense) of simply importing people with new skills.
In addition to sketching out why these hybrid people are so important in creating new forms of creative product, I briefly touch upon the importance of the agency implementing the right kind of ’operating system’ (the processes, values and culture within a company) if the fancy new ’software’ is going to run smoothly. If the operating system is outdated, even the most impressive software is redundant. I show, in one slide, an overview of how BBH in New York is approaching the re-engineering of it’s OS.
Would love to know what you think, and what your experiences are of finding, working with, managing and retaining T-shaped people. The future surely belongs to them.
For best viewing view on slideshare (this link takes you right there), where you can see embedded film & speaker notes; I have added the latter into the first comment there.
9th June 10
The thing we like most about Mary Meeker’s annual Internet Trends presentation is it’s just packed with data. The charts are sometimes *too* intense, in fact, carrying too much data. But it’s always revealing, and usually inspiring. Because it’s fact, not fiction.
Slide 7 is especially impactful. I was born on the left hand side of the chart, probably around when there were 5 million computing-capable units globally. On the right, just ten years from today, the forecast is for 10 billion+ units. Extraordinary.View more presentations from CM Summit: Marketing in Real Time.
9th June 10
Posted in Uncategorized
As many of you know, I’m involved with a mass collaboration effort (more on collaboration vs. crowd sourcing here) to rethink the portable / disposable coffee drinking experience. You see, the vast majority of to-go coffee cups aren’t recyclable, and it turns out we really like our coffee. Tens of billions of energy-inefficient cups end up in landfills every year. This post isn’t about the issue, but if you’re interested, please visit thebetacup.com (there’s still time to vote, rate, and improve upon on the ideas submitted, which is critical to identifying a solution).
This post is about 3 key lessons I’ve learned regarding the engagement of crowds over the course of this process.
1. Money is … well, money.
Money is a wonderful incentive. We heard from a number of people solely motivated by cash. It broadened the audience beyond the group that would have turned up only for the purpose of environmental altruism. However, when money’s at stake, the group is broader, but less collaborative. Some people would accuse others of stealing their ideas; others would respond within minutes to a new idea posted claiming it was too similar to something they’d submitted. I’ve been a part of a number of efforts like this now and money has always been a core incentive. But tying it to a cause illustrated how it can actually work against collaboration on occasion. Specifically, it undermined the bucket brigade reward system we hoped would occur through our community management.
I’m not saying money always has a negative impact, but understanding its limitations is critical in retrospect. It was great for the first part of the process (number of ideas, effort put into submissions, pass-along), but it was potentially detrimental to the second half (refining unpopular but high potential ideas, collaboration across related ideas, gaming of the system).
2. Employ a boring governing body.
Our friend @faris has regularly made the comment that crowds aren’t inherently wise regardless of book titles that have infiltrated innovations culture, which I couldn’t agree with more. In fact, as someone who has tried to wrangle a crowd on multiple occasions, I’ve always assumed there was a dangerous herd mentality I had to police against. In the case of Betacup, I was determined to not let the crowd’s opinion keep me from reading every single submission as a jury member. However, the crowd actually did an incredible job bubbling up the best / freshest / most effective ideas. Startlingly so, in fact. However, the few times I deviated in opinion from the crowd’s most influential members were on ideas that were, well, boring.
Crowds tend to collectively take a “wow me” approach (explains the current state of news media, no?). That works really well at encouraging new types of thought on an ongoing issue like this one, but it actually does some ideas a disservice. Some simple, boring ideas were actually very effective at solving parts of this complex issue (for example, a collection bin shaped like a tube to reduce the probability that other junk or recyclables would be placed in it). Yet these boring ideas were ignored, generating few views, comments, or ratings. My lesson here was of the importance of bringing in a governing group that has a bias of their own, in the other direction. People who value simplicity and boring effectiveness. That combination can yield powerful results to solve problems.
3. Don’t prescribe formats.
We made a bold choice when deciding what form Betacup submissions should take: any. It was why the highly flexible and open Jovoto platform worked beautifully for the type of problem-solving we needed. The coffee cup issue sounds like a design one on the surface: invent a design that’s recyclable but still fits in a cup holder, is cheap, can handle heat, and feels natural on the lips. But it’s actually quite layered. This problem is as much about human behavior and access to manufacturing and disposal resources as it is about engineering. By opening up the submission format, Betacup became accessible to people of all disciplines. When the problem is as ubiquitous yet unknown as disposable cups, it’s critical we have experts from diverse fields weigh in. Without it, we wouldn’t have had any intersectional innovation, and this problem demands it.
What’s impressive about crowds when they’re given opportunities like this is that individuals don’t introduce themselves as engineers, or designers, or marketers. They just solve a problem. And when you look at what they accomplished, you know different disciplines had to be involved, but the lines are too blurry to see where or how.
As I look back on the submission and collaboration process, I think we got a lot of things right, and certainly some things wrong. The lessons above were the most valuable for me as someone interested in such things. They may apply to a very specific collaboration environment: problem solving & innovation (not necessarily design or creative services), but they’ve changed the way I think about crowds. Now I just hope the 300+ ideas change the way we collectively think about our coffee habits.
To see, rate and comment on the submissions, visit the contest page. To follow our journey toward a solution, follow @thebetacup.
1st June 10
In a recent BBH Labs post (Wind Tunnel Marketing, The Sequel: On the Need for Divergent Insight) that talked about the need for divergent thinking and stimulus in approaching problem solving (& creative ideation), Chaz Wigley, the Chairman of BBH in Asia Pacific, mentioned how the CIA‘s (I’ve always wanted to link to the CIA) Problem Definition Checklist provoked precisely this kind of approach; rounded, many-faceted, flexible.
These questions are known as “context-free questions” and are designed “to encourage agents to look at a challenge from many different angles. Using Phoenix is like holding your challenge in your hand. You can turn it, look at it from underneath, see it from one view, hold it up to another position, imagine solutions, and really be in control of it” (see the excellent, if chewy, paper on Exploring Exploratory Testing, for more here).
We now have from Chaz not only the list of questions the CIA use to define problems, but also (thanks to Iqbal Mohammed) the follow-up list they use to develop the plan. Which seems kind of important too.
My personal favourite question in the problem definition list is the somewhat open-ended: ‘what isn’t the problem?’.
Why is it necessary to solve the problem?
What benefits will you receive by solving the problem?
What is the unknown?
What is it you don’t yet understand?
What is the information you have?
What isn’t the problem?
Is the information sufficient? Or is it insufficient? Or redundant? Or contradictory?
Should you draw a diagram of the problem? A figure?
Where are the boundaries of the problem?
Can you separate the various parts of the problem? Can you write them down? What are the relationships of the parts of the problem? What are the constants of the problem?
Have you seen this problem before?
Have you seen this problem in a slightly different form? Do you know a related problem?
Try to think of a familiar problem having the same or a similar unknown
Suppose you find a problem related to yours that has already been solved. Can you use it? Can you use its method?
Can you restate your problem? How many different ways can you restate it? More general? More specific? Can the rules be changed?
What are the best, worst and most probable cases you can imagine?
Can you solve the whole problem? Part of the problem?
What would you like the resolution to be? Can you picture it?
How much of the unknown can you determine?
Can you derive something useful from the information you have?
Have you used all the information?
Have you taken into account all essential notions in the problem?
Can you separate the steps in the problem-solving process? Can you determine the correctness of each step?
What creative thinking techniques can you use to generate ideas? How many different techniques?
Can you see the result? How many different kinds of results can you see?
How many different ways have you tried to solve the problem?
What have others done?
Can you intuit the solution? Can you check the result?
What should be done? How should it be done?
Where should it be done?
When should it be done?
Who should do it?
What do you need to do at this time?
Who will be responsible for what?
Can you use this problem to solve some other problem?
What is the unique set of qualities that makes this problem what it is and none other?
What milestones can best mark your progress?
How will you know when you are successful?
28th May 10
Posted in People
Who we’re after
An interactive Creative Director. We’re looking for someone who has proven experience leading radical change in communications. We don’t care where you come from – you might be in an ad agency in a digital role, working as an interactive CD at a digital agency, as an interactive design CD, or within a technology or innovation company as a creative director or project director. You might have nothing to do with agencies at all.
What you’ll be like
Very simply, we’re looking for someone with a proven appetite for radical change, big ambitions, tons of experience working with big ideas and vast amounts of energy. Someone happy to wear many hats; a proper hybrid.
BIG IDEAS IN BREAKTHROUGH FORMATS: Most of all, we’re looking for someone who is happiest working, sleeping and playing with ideas. The bigger, the better. The more innovative the canvas, the better.
INTO TECHNOLOGY IN A BIG WAY: We need someone who gets the enormous potential of what’s out there now – especially in deep interactive and immersive digital experiences – and how emerging technologies can & might work with the more traditional stuff. Your experience and willingness to experiment & go out of your comfort zone with technology is critical.
LOVE, LOVE, LOVE DESIGN: We require someone who loves graphic design and visual communication and who has the ability to mentor and guide graphic and interaction designers. Someone who has mastery of project concept creation, site architecture, user-interface specification, functionality specification and interactive design
AN INNOVATOR: Someone with strong opinions on how bigger & more breakthrough ideas can be created & nurtured for brands. Someone comfortable working with others in new and different ways. Someone who can surprise (us, others, themselves) and who likes surprises.
If this sounds like your kind of job, please send your cv/resume, details or link to email@example.com
BBH is a global creative advertising agency founded in 1982. The agency now has creative hubs in 6 locations: London, New York, Singapore, Sao Paulo, Shanghai, and, most recently, Mumbai. For more information visit http://bartleboglehegarty.com
28th May 10
Posted in online video
We enjoyed the new spoof of BBH New York’s / Google Creative Labs ‘Speed Tests’ films for Google Chrome.
We particularly like the casting of two ‘Scandinavian’ looking gents as the main protagonists; perhaps a gentle reference to our own ECDs on the project, Calle and Pelle Sjoenell.
Here’s the original, in case you missed it.
And here’s our film about how we made them.
Finally, a few snaps from the shoot.
24th May 10
Posted in Uncategorized
Three undisputed masters in their field discuss how the art of ‘selling’ is evolving.
Sir John Hegarty (Worldwide Creative Director, Bartle Bogle Hegarty)
Alan Edwards (CEO, The Outside Organisation)
Lord Philip Gould (Vice-Chairman, Freud Communications)
Moderated by: Matthew d’Ancona (Political Columnist, Sunday Telegraph & Evening Standard)
21st May 10
Post by Charles Wigley, Chairman, BBH Asia Pacific
Jim Carroll’s excellent post on Wind Tunnel Politics reflects an idea he came up a couple of years ago – the notion of ‘wind tunnel marketing’ – an idea that Emma Cookson (Chairman, BBH New York), Jim (Chairman, BBH London) and I have been chatting about a lot again recently.
Given the traffic, RTs and positive comments the first post got, we felt it was perhaps time for a more thorough analysis of its impact on what most of us reading this do for a living – the development of brand communications.
We’d like to get the debate going and involve people from all sides – client, agency and research. So please let us know what you think.
Here we’ll look at three things to start the conversation:
I. The origins of the problem;
II. The results; and
III. Some potential solutions
Then we’d like your point of view.
1. The Origins of the Problem
Pretty obviously the world is now crammed with very good, largely parity products across most sectors. With the consequent decline in any real, viable notion of product USP’s the industry has increasingly turned to understanding the consumer as the key source of competitive advantage.
The Holy Grail is a breakthrough ‘consumer insight’. Something that cracks open consumer motivations around a category in a new and fresh way and as a result allows a brand to more powerfully pitch its product or service.
Indeed many companies now have entire departments focussed solely on consumer insight. Some of you reading this may have it in your job title.
And, looked at one way, it makes a lot of sense.
After all, isn’t the whole notion of marketing about ‘satisfying the wants, needs and desires of consumers ‘ ?
There is, however, one rather significant problem with it.
Everyone is looking the same way and largely following the same path.
Frequently doing the same research, with the same consumers via the same research companies on essentially the same products.
The result won’t surprise anyone – they get to very similar places.
So while marketers and their agency partners consistently (and rightly) talk up the critical importance of differentiation, most of our industry is wedded to a ‘best practice’ process that inherently takes them another way – to greater sameness.
2. The Results
Are self-evident and everywhere (ever noticed how hard it is to think of major brand examples of ‘great’ outside of the usual suspects?)
From mid-range family salons that, when unbranded, even car fanatics fail to recognise ( and can you remember the make of the ‘reasonably priced car’ on Top Gear ?…….you’ve probably seen it about 30 times ) to entire categories where the work is just too interchangeable (looked at any skincare advertising recently?) Even brands aimed at youth (where one would assume a greater leeway to pursue difference) seem to be merging into one – an event with a DJ and some free form skateboarders anyone?
From a marketer’s point of view all this serves to do is to make it a game of scale of resources again.
He or she with the biggest distribution network / media budget / sales team wins. The cost efficiencies of genuine brand differentiation are notable largely by their absence.
Yet, because large organisations inevitably (and understandably) need logical ‘handrails’ for staffers to follow, few are challenging the standard, solely consumer insight oriented process currently in place.
3. Potential Solutions
People need systems. Very few of us are individually brilliant enough to be able to operate day in day out in the trenches without them. So an imploration to just ‘go free-form’ is unlikely to be of much use to most companies.
It seems to us, however, that the handrails that need to be put in place need to actively force diversity of thinking.
They need to be ‘hydra-like’ in that they need to regularly have the potential to lead to many different places – not always back to the same spot.
The CIA ‘Problem Definition Checklist’ does this (if you want a copy let us know). When properly followed, the Disruption model does it. Interestingly, in his latest thinking, Adam Morgan is suggesting a far more diverse range of different types of challenger brands (and no doubt different ways to develop them).
For our part at BBH, we are re-committing to one of our oldest strategic tenets (and simplest of thoughts) – ‘insights from many sources, not just consumer’. The product, the brand, the way category operates, the retail experience, the media landscape, etc, etc. – all are ripe for investigation – and all should be.
We are also re-committing to the future.
There’s something interesting here. As per the famous Akio Morito quote - “we don’t ask consumers what they want ; they don’t know. Instead we apply our brain power to what they need, and will want, and make sure we are there ready” - the future is surely what we should be trying to work out the likely terrain of, rather than analysing that of the present or the past. Perhaps the most powerful model we are now trying to get grips is a fusion of brand insight with consumer foresight. Note – not consumer insight – but rather an understanding of where the market is likely to go rather than where it has been.
As we said at the start, we’d like to hear what you think. If this rings true, what are your thoughts on potential solutions?
19th May 10
Authors: Brad Haugen, Hal Kirkland & Masa Kawamura (@BBHNewYork)
Asher Roth is an artist who is uniquely in touch with his fans. After all, his brand was brilliantly built on the back of the web community Ning. This platform forged bonds and fostered conversations between Asher’s team and their fans. Since the end of his first tour, everyone was simply waiting for what he would do next.
So while this project arrived at an extremely busy time at BBH New York, the opportunity to work directly with an artist who encouraged creative freedom, and to experiment both conceptually and with new technologies, was super exciting; a luxury not often afforded within every advertising brief.
Luckily Asher, an incredibly web-savvy and prolific blogger knew what he wanted from the start.
“I want my website to really show my fans who I am. I want them to realize that I am just like any of them, and that I’m human. It has to engage them on that level.”
It didn’t take long before the idea for the site began to evolve. Of course, after some initial concepts were discussed, we had to make sure what we were suggesting was even possible, hence partnering with the geniuses at AID-DCC in Japan, a production company renown for pioneering the introduction of augmented reality into Flash.
The way the site works is simple; an illustration of the website is printed on a card around the size of a credit card. Whenever a photo is taken of the card by Asher or one of his buddies and uploaded, that photo instantly becomes the top-page of asherrothmusic.com. Meaning Asher can literally carry his website in his wallet and fans can follow him wherever he goes.
When fans visit the site, the first thing they see will be the latest updated picture, which could be anywhere from Asher holding the card on stage at a performance, to Asher watching TV with his buddies. Each image is dated and labeled, so fans can make a connection with the context in which the photos was taken.
Using FLARToolKit, the program tracks the design and shape of the card and then literally launches the site’s interface from its surface. Each graphic element then matches the exact color of the card therefore enhancing this illusion and giving the site a visually organic quality that matches Asher’s style.
The next step for the site is to connect with the fans even more and to get them to submit their own photos. The next album release will have the card featured on the cover. In this way, fans can become a part Asher’s site as well and help to build the already pretty crazy library of photos.
The platform is also totally geared to maintain engagement. Several sponsorship and competition strategies will be implemented over the course of the year, each providing both fans and sponsors a reason to keep coming back.
BBH-ers have worked on music projects before, not least for MySpace (see: http://j.mp/7nFiYF). But this project taught us many things about the music industry. While it’s a creative industry, for the most part, music labels tend to be a little old-fashioned and somewhat formulaic when it comes to promoting their artists. Even though an artist may be promoted via many channels and social networking platforms, sometimes the user experience can come across as a bit of a box-ticking exercise i.e. must have Facebook page, MySpace, blog, etc, instead of thinking an original way that the artist can legitimately connect with their fans.
With Asher, we were lucky to have an artist who is also a creative thinker and is willing to take a leap of faith in order to keep his brand authentic, especially since the technicalities of the concept were difficult to articulate in the beginning. On complex projects like this it’s easy to get bogged down in the minutia, rather than merely concentrating on the bigger picture. Asher really gave us some breathing room, and the project benefited greatly as a result.
Asher has really opened a window so that he could share his day-to-day life and experiences with his fans. It’s a direction that many others in the music industry could learn from. Of course, it helps a great deal if the sentiment is as sincere as his.
Overall, the site is far better represented by exploring it for yourself, in which case we hope you do.
It would be great to hear any feedback as it is in a constant state of development.
But before we go we’d just like to put a big thanks out there to everyone that made it possible.
Creative Directors: Masashi Kawamura, Hal Kirkland
Art Directors: Masashi Kawamura, Hal Kirkland
Technical Director: Tomohiko Koyama (Saqoosha)
Designers: Yuri Morimoto, Masayuki Nishimura
Business Director: Brad Haugen
Account Director: Lindsay Kopec
Content Director: David Wilsher
Project Manager: Yoko Yamazaki
Flash Developer: Tomohiko Koyama (Saqoosha), Kenji Mori
Programmer: Masaru Kinoshita, Tomohiko Koyama (Saqoosha)
Illustration: Yuri Morimoto, Yumi Yamada
Music: Asher Roth
Production: AID-DCC, Katamari