Sometimes I’m reminded of this.

They are like those birds that weave intricate nests in which they are as content to hatch out a pebble as an egg.

from Cyril Connolly: Enemies of Promise (1938)

The medium is the message. One of the most famous quotes about communication ever, and almost up there with the fifteen minutes of fame in terms of ubiquity. And during the 2000s, the idea of the media channel has been expanded, to encompass pretty much everything. Adding to print, broadcast, web, mobile, outdoor billboards, etc, brands advertise themselves on any physical object they find suitable to associate with. This kind of advertising uses creative associations between the brand and the medium so that it’s actually the medium in itself that communicates the message. So, really a case in point for McLuhan. Easily translated into entertaining, instantly graspable jpgs, ad blogs love this kind of brand communication. But is it effective?

There’s not much written about advertising outside of ‘proper’ media. Swedish rock star professor Micael Dahlén (a generally very clever man, isn’t he) has written a few things on it though. He calls employing a novel medium that makes a statement in itself creative media choice. Which is fine but could mean a wide range of media decisions, so I guess I’d call it something like creative context connections*. (That’s a nice alliteration which I could use with a trademark symbol, too, should I need to make one of those fluffy agency models.)

In both of these studies (The Medium as Contextual Cue. Effects of Creative Media Choice, Journal of Advertising, 2005 and Dahlén, Friberg and Nilsson: Long Live Creative Media Choice. The Medium as a Persistent Brand Cue, Journal of Advertising, 2009) experiments were made where traditional media (ad posters, print ads) and creative contexts were compared. An egg with an insurance company’s logo and tagline or a fire extinguisher with a salsa sauce label on it were two novel media used. The results: creative contexts were more effective than traditional media use in creating the intended brand associations. (This presumes a good match, of course, between context and product.)

As an added bonus, the medium itself can continue to remind people of the brand, something that hardly happens with regular media that’s normally filled with brand messages. Actually, in one experiment, exposure to an altered creative context (when the brand logo etc had been removed) even transferred new associations to the brand. A phenomenon that could be good or bad, presumably. Maybe you should be a little careful with, as in the first example above, associating your food brand with public toilets, hot air connotation or not.

What I would like to do a study on is a possible conflict with brand personality and tone of voice. The simplicity of the message when it’s created by association overlap between brand and medium (Salsa sauce – Hot – Fire extinguisher) and the inherent witty cleverness in making such associations make every brand sound quite similar, and frankly, maybe a little too advertising-y to suit any brand. An obvious rival is of course what trendwatching.com calls Brand butlers. Brand butlers are all those apps, sites or services that also work by association (Energy drink – Sport – App that keeps track of your exercise) but allow an own voice and add value. Like IKEA France’s brilliant covoiturage service, where you can meet people to share your ride to the store – making both driver and passenger save money, perfectly in line with IKEA’s brand values.

* I really dislike the word guerrilla advertising. It’s an example of the old militaristic language of traditional marketing, with its targeting of consumers and offensive and defensive strategies. In his seminal books on guerrilla marketing, Jay Conrad Levinson actually calls different strategies ‘weapons’. Amazing. (Also, dear creative, you’re in advertising, not an invincible jungle warrior. Deal with it.) So I didn’t use it.

The relation between brands and Spotify is a bit confusing in its, well, non-innovativeness. A ground breaking product, in which there’s been placed (1) radio ads and (2) banner ads. Mhm. Occasionally, in Sweden at least, they’re used to entice the listener to connect over play-lists or song choices (but aren’t those experiments less frequent now?), but I haven’t seen much use of Spotify’s potential as content carrier rather than just ad space.

So the campaign for Hurts which runs now is quite interesting. Hurts are, if you didn’t know it already, a Mancunian electro pop duo who (1) look good (2) dress up and shave, (3) are, or are styled as (in pop music, who cares?), hopeless romantics and (4) duet with Kylie. Alas, they would be perfect pop group, if they didn’t insist on sounding like Talk Talk.

Anyway, they’ve collaborated with Manchester novelist Joe Stretch, making an interactive story of sorts, called ‘Don’t Let Go’. Narrated by Anna Friel, the actress, each chapter is a track, and you’ll find the code for the next one at the end of each. Or actually codes, because it offers you alternative actions for your hero. And if you’ve chosen wisely and get through the whole experience (‘to stop arch villain Guy Lockhart from distributing his heartbreak cocktail and condemning humankind forever to a loveless, empty existence’, no less) without getting killed, you’re rewarded with the perhaps not so grand price of a preview track. It starts here, by the way.

Now, there’s something about this … Besides its obvious video game flirtations, it reminds me of, yes, hypertext fiction! The last time I was buried in Communication Studies literature, mid-2000s, the fascinating but elusive hypertext novels could still be described in old editions’ discussions on digital media. For some, inexplicable, reason, hypertext fiction – in which you could, yes, choose a path in the story with the help of hyperlinks – was thought to be an important element of entertainment in the future. Oh well.

The retro-hypertext idea aside, plus points for innovative media use, quality and execution. Some minus points though, for turning it into a promotional contest (with a price that requires real fandom for it to be desirable). It sort of puts the story in brackets, doesn’t it, transforming it from literature to copy. Why not trust the short story, let it be just that (hyperfiction or not). Soundtracked by the Hurts’ music, it would add more layers of the right kind of connotations to the band without the comp element. All in all, though, nice work. In other Hurts promotion media news, an equally nice promo box in line with their lovely Drones Club aesthetics, complete with comb and sheet music (images from Popjustice).

This is how a local dental practice advertises itself. Either it’s run by dentists with a great sense of humour.

Or they’re just chosen a magnificently frightening dragon poster because they’re located close to the classic movie theatre Draken (The Dragon), and don’t see how this choice of imagery might contradict the first line below it: “We’re happy to welcome people with dental fear“.

In the beginning of my career, I had this mad idea that good design work would come directly, in one step, perfect, shining, from my brain to the world. And it would be directly understood.
The client would know great work when s/he saw it.
If s/he wanted changes made, especially when it came down to details, it was basically for one of two reasons: s/he (inexplicably) wouldn’t let us do our job, and thus was a rather hopeless client.
Or I wasn’t any good after all, and even the most untrained eye was better than mine at judging how big a logotype should be.
One is deeply frustrating, one is horribly scary.
I wasn’t very relaxed in presentations.

But that’s not how it works.
To make good work, you need to gesso it first.

‘Have you gessoed it?’

Gesso is what you use as priming for paintings.
Gesso makes the surface stiffer.
It prevents paint from soaking into the canvas, paper or wood.
And it gives the surface more texture, so the paint sticks better.
Traditionally made of animal glue – skin, bone or cartilage – mixed with calcium sulphate (a form of gypsum) or calcium carbonate (chalk), it’s pretty, well, intimate stuff.

‘Stop! Have you really gessoed it?’

So, gesso.
The gesso is the client relationship.
It’s the trust you build.
The feeling the client gets that s/he’s in good, professional hands. That s/he can stop being scared – because s/he’s terrified – and with good reason. S/he’s bought something from you that’s so important to get right, something that will define how others see him/her, something that can make or break him/her, without seeing it beforehand. Terrified. That’s why s/he instinctively wants to regain a little bit of control, by telling you to centre the logotype because s/he’s asked around a little and a guy in Sales said he just doesn’t like it to the right. Or by treating your best, bravest ideas like they were a separatist group’s demands for independence: like something that should be negociated down until it’s completely toothless. Handling fears.

That’s why, if you haven’t been covering your canvas with client confidence building, calming gesso, your work will end up an ungessoed painting.
Difficult to get right, those expensive and carefully mixed oil colours sinking into the canvas, turning out dull and uneven.
And the surface cracking.
No matter how great this piece of art was in your mind.
So gesso. Understand, inspire, motivate, involve your client. It’s the groundwork to your masterpiece.

P.S. Obviously, not all client critique is down to bad gessoing. It’s often very insightful stuff. But with proper gesso, it will be easier for the client to find that relevant input. And for you to listen to it.