Creature Feature: An Inside Look at the Award-Winning Seattle Shop

SEATTLE—I am in Seattle to discover where the brand transformers work. And how they work different to achieve better results. Jim Haven, Co-founder and Chief Creative Officer of Creature, is my willing and hospitable guide.

Haven and Co-founder Matt Peterson started Creature in 2002 and have since seen the agency grow to 50 people in Seattle and 20 in London. Creature is a well known shop in creative circles, having done outstanding work for Pacifico Beer, Nike, Starbucks and many others over the years.

At this time, Creature is preparing to debut its first work for Fort Worth-based clothing brand, Dickies.

For every client we want “irrefutable ideas, something that’s never been done,” Haven says. He admits it is a “North Star goal” and that they don’t always get there. Naturally, lofty goals require strategic thinking and the ability to execute, which is why Haven is excited to show me the agency’s home for “living briefs.”

In the basement of their refurbished Capitol Hill industrial chic offices, a fifty foot long wall where the agency’s strategists work out client problems is dominant. “It’s our secret weapon,” Haven proudly states. “Nothing is sacred. We solve problems visually and challenge things in real time.”

The strategic mapping done on this wall helps lead Creature’s creatives to better understand and solve “The Beautiful Problem,” and move from obstacle to opportunity.

“There’s a leap of faith that every client takes,” Haven explains. “Great creative requires clients to make that (leap).” The wall helps clients understand the our process more thoroughly and exposes them to “waterfall moments along the way,” so in the end recommended solutions aren’t a surprise, but a natural outcome of the system.

Back upstairs in the partners’ shared loft office, I ask Haven what makes one agency “creative,” while others, even those with talent in the ranks, flounder. “Hard work, luck and naiveté — those are the things that it takes.”

“In some ways, you have to believe in this kind of dream and pretend long enough for it to become real,” Haven suggests. “Matt and I talk about this. The laws of physics apply to life. You end up in the direction that you’re looking. So you want to always make sure that you’re looking in the right direction. Your mind and body will follow any doubts you have. That’s why I say, ‘instead of confidence, naiveté,’ because if you analyze what you’re up against — all the obstacles that get in the way of good work — you probably wouldn’t get up and do this.”


One obstacle Haven points to is the mindset of some big Seattle-based clients. He references Jeff Bezos’ famous quote, “Advertising is the price you pay for having an unremarkable product or service,” and suggests that the focus of many big clients Seattle is squarely on building a better product. Personally, I see Creature doing the same thing, and when you end up making a better product, the marketing it wears tends to fit like a bespoke suit.

Interestingly, Creature does some storefront marketing like crosstown hot shop Wexley School for Girls, which helps give both shops greater presence in the market. Peterson says, “We want to contribute to the neighborhood. We’re closer to the street, not up in some building.”

This is what advertising needs more of, in my opinion — practical idealists working side-by-side with other merchants. It’s the necessary feet-on-the-ground piece that helps make the lofty ideas come true. Think about it, an agency up in a corporate tower is physically on the client’s page, and the ideas generated therein often reflect this. But an agency that is part of the fabric of the community, it is tapped in to what people are thinking and doing.

Previously on AdPulp: Using Kegs As Canvases, What Will Pacifico Think Of Next?

The post Creature Feature: An Inside Look at the Award-Winning Seattle Shop appeared first on AdPulp.

11 Luxury Watches by Nixon – From Blinged-Out Oversized Faces to Minimalist Hardwood Timekeepers (TOPLIST)

(TrendHunter.com) Nixon is not generally known for creating luxury watches. It usually caters its gear towards younger markets with vibrantly colorful watches that are made from cheaper materials like rubber and cloth….

Pop Culture Painted Pumps – These Charlotte Olympia Custom Shoes are Inspired by Iconic Art (GALLERY)

(TrendHunter.com) Artist Boyarde Messenger was given the task of turning the gorgeous signature Charlotte Olympia platform heels into custom shoes inspired by famous artists.

She carefully and painstakingly hand…

Minimalist Number-Free Watches – The Levi Maestro Infinity Watch Features a Blank Time Face (GALLERY)

(TrendHunter.com) The Levi Maestro Infinity Watch is out to change your presumptions of what a watch should be. The luxurious unisex watch has a blank rose gold plated face which doesn’t actually feature any…

Making It Last: Never Too Many ‘I Love You’s’ for This Couple

Skip and Karen Finley attribute their 41 years of marriage to always ending conversations with, “I love you.”

Archetypes of Dissent

Mapping the cultural contraflow of revolt.

From Adbusters #106: Mental Breakdown of a Nation


MARIO RUIZ/CORBIS

Radical politics is defined by opacity, anonymity and dissimulation … and by invisibility: by the political presence of absence.

The power of surprise, of secret organization, of rebelling, of demonstrating and plotting covertly, of striking invisibly, and in multiple sites at once, is the key element that the Invisible Committee, anonymous authors of The Coming Insurrection, affirm for confronting a power whose firepower is vastly superior. To be explicitly visible, to appear explicitly – in a maneuver, in organizing, even in an occupation –“is to be exposed, that is to say above all, vulnerable.”

Here Guy Fawkes and black ski masks become emblems of veritable nobodies, of invisible underground men and women, of people without qualities who want to disguise their inner qualities, who shun visibility and have little desire to be the somebody the world wants them to be. These bodies are publicly expressive bodies yet are bodies weary of revealing too much of themselves. That’s why they wear disguises: they reveal their true identities by dissimulating their facial identity, by transgressing where these bodies are supposed to be and how they are supposed to look and act.

This, after all, is the whole point of the “black blocs” that appeard within certain Occupy actions, a tactic whereby hoods, caps and masks create an anonymity symbolizing a tacit solidarity, a militant togetherness in the face of danger, a collective identity voiced without words, because sometimes words can say too little – or too much. What we have here is an expressive politics that “appears” in a different guise, in its true guise of invisibility, simultaneously present and absent in “public” space.

In fact, the whole idea of opacity and dissimulation, of clandestinity and anonymity is part and parcel of an archetype of contemporary militant politics, part of its tactic and identity, part of the armory of what dissent is and should be. Perhaps it’s possible to draw up a list of “archetypes of dissent,” of progressive, not reactionary dissenters. Archetypes that symbolize, as Jung would have had it, an innate disposition to make trouble, to protest, to revolt against the structures of modern power; to let power know that ordinary people are still alive and kicking, and that staying alive necessitates every once in a while kicking out at power, at its structures of law and order.

Let me flag out five “archetypes of dissent”: (1) Secret Agents; (2) Double Agents; (3) Maggots in the Apple; (4) Great Escapers; and (5) Great Refusers.

Secret Agents are people who devote their very lives and being to the radical cause. They may be professional organizers and tacticians, plotting and dissenting, often clandestinely, writing and printing militant literature, existing to spread the word and fight the power. Nowadays, they may be black bloc’er anarchists, marxists, socialists and autonomous communists of assorted stripes and persuasions, who, with Occupy, have now found focus, a medium through which they can channel and refract their energies and dissatisfactions. Their militancy is thus at once open and concealed, known to some yet hidden from others.

If Secret Agents have a “cover,” Double Agents conceal their dual identities. Their being isn’t “either/or” but “both/and.” In practice, this makes for a strange, schizoid practice, a deeper political idealism lurking behind a socially conventional pragmatism, a person in society who is rebelling against society. The stuff of the 99% doubtless consists of many double agents: they earn a living to equip themselves to overthrow what earning a living really means.

Any radical artist, too, who wants their revolutionary art and wares to reach broader publics knows about the hazards and possibilities of double agency. They sometimes follow what Walter Benjamin said of poet Charles Baudelaire: that he was the “double agent of his class … an agent of secret discontent of his class within its rule,” a species who is the very product of modern life, with its complex role-playing and ambivalences, its tangled loyalties and multiple identities. Double agents revel in the tormented freedoms and contradictions these ambivalences engender.

“Maggots in the apple” is the evocative phrase Henri Lefebvre took from French novelist Stendhal. In the first few decades of the nineteenth-century, Stendhal described a “new romanticism” in the air, a brazenly utopian response to the problems of an emergent technological and industrial civilization, problems that remain ours today. In the early 1960s, when Lefebvre wrote Introduction to Modernity, he spotted a renewal of both classical and modern romanticism fighting back against the crushing irrational rationality of a bourgeois modernity run amok, updating the project Stendhal announced in the 1820s: “At last,” Stendhal wrote in Racine and Shakespeare, “… the great day will come when the youth will awake; this noble youth will be amazed to realize how long and how seriously it has been applauding such colossal inanities … It requires courage to be a romantic … because one must take a risk.”

Lefebvre concluded Introduction to Modernity by saying there was a “new attitude” drifting in the breeze: revolts, acts of insubordination, protests, abstentions, rebellions were there and felt; Stendhal was a man of the late twentieth-century. His romanticism affirmed disparate elements of society. Perhaps their historical counterparts today are the downsized “post-work” victims of a right-sizing capitalist corporate ethic, which “sets workers free” as business cycles dip and as austerity measures grip; and the maggots now constitute a huge mass of sub, under and unemployed workers, who are a relative surplus population.

And they work, if they can find it, insecurely, at McJobs, on temporary contracts, on workfare programs and in internships. Many are students and post-students who know that before them lies a dark, deep abyss that’s about to engulf them, a black hole of the labor market and debt. This ragged array of people now attempts to live out within bourgeois society, challenging its “moral” economic order, surviving in its core, “like a maggot in an apple,” trying to eat their way out from the inside.

Great Escapers take to flight as a form of fight and express a spirit of critical positivity. They have absolutely no truck with existing society and go it alone, or alone with others, to create alternative radical communities and communes, frequently self-sufficient, both in the city and the countryside.

Their modus operandi is precisely the opposite’s of Kafka’s K.’s. Instead of trying to enter the inner recesses of the castle, of the citadel of contemporary capitalism, instead of trying to find doors to knock on and people to complain to, demanding their “rights,” Great Escapers burrow out under the castle’s ramparts and ask for nothing. They dig tunnels and construct exit trails; they organize, with great caution, invisible escape committees (as they have at Tarnac, France); and they hope their tunnels will be long enough and sufficiently deep enough to reach freedom, ubiquitous enough to converge with other tunnels. And if enough people dig, the surface superstructure might one day give away entirely, after everybody has left. What remains will implode in one great big heap of rubble – like the Berlin Wall.

The Great Escape suggests something subterranean, something organized and tactical, something practical and concrete. It begins below and at ground level and doesn’t float up in the air, abstractly, plonking itself down undemocratically. A lot of liberals and radicals still believe that the central object of any struggle isn’t to orchestrate escape tunnels but to destroy the social structures and institutions that underwrite human captivity, that define the castle on the hill. They say that one needs to abolish the conditions of mass subordination, destroy the logic of prison camps as well as the processes that give rise to camp mentality. One needs to negate the contradiction between inmate and warder, they say, before one can begin to create a passage to freedom.

But demolishing the social structure is a project destined to suffer the same trials and frustrations K. suffered when he tried to break into his castle, when he tried to find a well-grounded confidence for further and greater struggles that should have followed yet which always eluded him.

Great Refusers take to fight as a form of flight. They express a spirit of negative defiance, immortalized by Herbert Marcuse’s One Dimensional Man, the no-holds-barred outcry “against that which is.” In refusing to play the game, in voicing NO, in individually and collectively downing tools, Great Refusers already begin to create another dimension to life. They give renewed breadth and depth to it, re-sublimate what has been de-sublimated, denied by a delusional “happy consciousness.” Better to sport an unhappy, dissatisfied mien, Marcuse thought, with a frustrated libido that still functions, that still flows with the energy of the Life Instinct, than have your vital center bought off, sensually deprived by the instant gratification of society’s gismos.

Doubtless, dissenters here can fall into more than one category, and might even fall between categories. Their respective constitution and organizing causes, be they romantically idealist or pragmatically realist, can likewise change over time, subject to personal and political circumstances. Indeed, the changing nature of their revolt suggests that this falling in and out of categories, and between categories, will make dissent both positively and negatively charged, a constant toing and froing that makes revolt more flexible and adaptive.

Meanwhile, all categories need each other, reinforce one another, and offer both offensive fronts and rearguard defenses. And the efficacy of any dissent will likely be predicated on how these dissenters organize themselves internally yet coordinate themselves externally, reach out to one another, create a bigger kaleidoscope, a more inclusive constellation of dissent that coexists horizontally, democratically.

Taken together, these archetypes express a cultural contraflow of revolt, a different meme that circulates and gets exchanged collectively, that distributes and consummates itself spatially, that has to reproduce itself temporally on an ever-expanding scale of activity and activism – otherwise it will die off in a process of natural political selection. Memes are cultural transmitters, messenger particles carrying ideas, symbols and buzz concepts that catch on, that are communicable between people, that solidify group identity. Memes in this sense are cultural analogues of dissenting genes, mutating and replicating themselves as they respond to internal and external selective pressure, to external political pressure.

We might say that neoliberalism, as a political-economic paradigm, is a meme that has parasitized our brains over the past 20 years or more, and has entered our culture in a way that looks like a highly speeded up genetic revolution, “but has really nothing to do with genetic revolution.” There is nothing natural here: its agents and commissars, its institutions and lobbyists, its professors and experts have cajoled and bullied us into accepting this meme as a given, ensuring that this idea has evolved memically, imitatively.

Now, though, facing what Guy Debord called “domination’s falling rate of profit,” we’ve heard the spirited appeal for a permanent “meme war,” for revolters to battle under the banner of a new meme, to propagate a different political-economic paradigm, one antagonistic to the dominance of the old order, one transforming and even erasing the institutions that spread this old meme, that have parasitized our brains like a virus.

Archetypes of dissent can help us unravel what this new alternative meme might be, how it gets disseminated through actual revolt, how it exists conceptually in the minds of recipients, and how it might one day become a reality out in the world.

Andy Merrifield is an independent scholar based in the UK. He has written several books including a biography of Situationist philosopher Guy Debord. His most recent books are Magical Marxism (2011) and John Berger (2012).

Hemorio: Tiny Hole

Advertising Agency: Binder Visão Estratégica, Rio de Janeiro, Brazil
Creative Directors: Marcos Apóstolo, Marcus Saulnier
Art Directors: Leandro Bechara, Marcelo Andrade
Copywriters: Mariana Louzada, Pedro Drable
Photographer: Rudy Hühold
Video Producer: Manjubinha Filmes / Binder
Sound Design: Sonido
Published: November 2012

World Briefing | Europe: Britain: 4 Plead Guilty in Selling Information to Tabloids

Four former public officials pleaded guilty Friday to illegally selling information to the Rupert Murdoch-owned tabloid, The Sun.

Just-Eat: Just-Eat Kidnap

Anthony Worrall Thompson has been kidnapped by the Just-Eat team, and we’re inviting the public to get their own back on celebrity chefs! Viewers get to slap Anthony round the face with a sprat, a mackerel and even a slimey squid! – and it all starts here with the kidnap video.

Advertising Agency: The Marketing Store / RedPill, London, UK
Published: February 2013

Eat24: You’re Welcome, America

Advertising Agency: Mortar, San Francisco, USA
Creative Director / Copywriter: Hugh Gurin
Art Director / Editor: Todd Ransick
Published: May 2012

Eat24: Respect

Advertising Agency: Mortar, San Francisco, USA
Creative Director / Copywriter: Hugh Gurin
Art Director / Editor: Todd Ransick
Published: May 2012

Eat24: Up

Advertising Agency: Mortar, San Francisco, USA
Creative Director / Copywriter: Hugh Gurin
Art Director / Editor: Todd Ransick
Published: May 2012

Ragga Magazine: Beer

There’s always a good reason to take care of the planet.

Advertising Agency: Filadelfia, Belo Horizonte, Brazil
Creative Director: Dan Zecchinelli
Art Director / Illustrator: Ricardo Matos
Copywriter: Manuel Rolim
Published: March 2013

Ragga Magazine: Dildo

There’s always a good reason to take care of the planet.

Advertising Agency: Filadelfia, Belo Horizonte, Brazil
Creative Director: Dan Zecchinelli
Art Director / Illustrator: Ricardo Matos
Copywriter: Manuel Rolim
Published: March 2013

Ragga Magazine: Skateboard

There’s always a good reason to take care of the planet.

Advertising Agency: Filadelfia, Belo Horizonte, Brazil
Creative Director: Dan Zecchinelli
Art Director / Illustrator: Ricardo Matos
Copywriter: Manuel Rolim
Published: March 2013

6 Secrets of Successful Geofence Campaigns

geofencing1.png

Your customers all have mobile devices. Most walk around with Androids and iPhones. You have built your killer application, but your customers do not download it, and when they do, they do not use it. So how can you best engage your customers in the mobile channel?

Directly. SMS remains the best medium marketers use today to reach customers. But too many use SMS as an ax and not a scalpel. Marketers are flooding their customers: SMS traffic will approach 10 trillion messages this year, thanks mostly to SMS campaigns.

How do you effectively engage customers without drowning them? Smart marketers build geofences around key physical sites: stores, arenas, airports, schools, even competitor outlets.

These fences create zones that trigger an SMS message or other action when a customer enters or leaves. It is called geofencing, it is new in mobile marketing, and there are some important secrets to getting right.

Over the past three years I have helped hundreds of companies integrate location and geofences into their apps, their platforms and their campaigns. Here are a few secrets learned along the way.

1. Fish where the fish are. Build geofences where you believe your customers are, not necessarily where you want them to be.

“When you know where your customers are, you can improve your marketing ROI,” said Jeff Hasen, chief marketing officer of Hipcricket. Which means maybe you do not build them around your store. Perhaps another location – airports for busy travelers, schools for soccer moms – are better geofences than your own lonely outlets.

2. Big fences do not work. By definition, a geofence can be any size or shape. But would you rather know if your customer is in an attractive DMA, or when she is passing by your retail store?

Construct geofences that are small and thus more relevant. Use this rule of thumb: the distance should equate to approximately four minutes travel time to your doorstep.
If your store is in a mall, that is a four-minute walk. If along the road, that is a few blocks. Anything larger and you are reducing relevancy in your “local messaging.”

3. Bland messages do not work. If your message is an ad versus an action, you will not drive the customer behavior you desire. You are not alone in your geofence aspirations.
Today more than half of U.S. mobile ad spending is local. Your message must be brief, be locally-relevant and prompt action. And money always drives action: do not be cheap.

4. Make it important. The Starbucks latte coupon message magically appearing on your iPhone has been cited as the Holy Grail of location-based services for a decade.

Technically, the capability is beginning to emerge with some – albeit spotty – location sources, but persistent handset location on the handset is too costly in terms of its toll on battery life.

Besides, which customers want to receive dozens of coupon texts as they stroll through the mall? If you build a geofence, have it trigger an important action.

Saving a quarter on a cup of coffee is not important, but redirecting a high roller away from a competitor’s casino is important. Choose your geofence purpose wisely.

5. Watch the clock. A geofence is not just a place on a map, it is also a place in time. When you take action on a trigger and when you notify a customer to do something is just as important as where.

Mobile marketing platform provider Vibes knows this very well.

“Location, location, location” has always been the real estate industry’s motto, but today, it’s especially important for brand marketers to connect with their customers whenever and wherever they are,” said Brittany Clotfelter, vice president of business development and strategic partnerships at Vibes.

6. Measure everything. Even if you are unsure of how certain metrics directly impact your campaign ROI, record them anyway.

A geofence combines the physical world with the data world, which adds up to a brave new world for marketing analytics.

Insight from the data comes from surprising places.

American Eagle found that location-enabled geofence campaigns demonstrated that location, coupled with time of day was hugely predictive of interest and intent for consumers considering the purchase of any real-world product or service.

Do you know what time of day marks the highest propensity for spending among your customer segments? You should.

For American Eagle, geofences demonstrated a measureable shift in customer behavior. Location-relevant messages sent at the most opportune time in a consumer’s day drove purchase behavior as high as 65 percent.

Mobile ad spending is exploding. Geofencing is your best weapon to staking your territory in the mobile world to engage your customers.

These six simple truths about geofencing and mobile location will help you drive the returns and engagement you desire from the mobile marketing channel.

This guest article was written by Rip Gerber, CEO of Locaid Technologies. You can reach him at rgerber@loc-aid.com.

Media Decoder Blog: News Corp. Will Provide $2.6 Billion to Its New Publishing Company

The new company, which will consist of more than 100 newspapers, will have a big cash safety net and no debt when it separates from the entertainment part of News Corporation.

University of Maryland Smith School of Business: Career, 3

It’s hard to imagine a business school coming out and talking about [advertising] something other than professors, curriculum and academic rankings. But that’s exactly what we did. We knew that to really connect with today’s potential students we had to stand out in this sea of sameness with a message unique to us. Our message was that beyond the quality professors and top rankings we had the largest, most powerful network in the D.C. region. And this network held major influence on how these students could get ahead in the real world of business. It all came to life with intelligent and thought-provoking headlines and a visual treatment that was decidedly modern and sophisticated.

Advertising Agency: Carton Donofrio & Partners Baltimore, USA
Creative Director: Michael Neiderer
Associate Creative Director / Art Director: Jon Leon
Copywriters: Brad Londy, Michael Neiderer, Joe Pistone, Jon Leon
Retoucher: Chris Bodie
Photographer: Steve Belkowitz
Published: February 2013

University of Maryland Smith School of Business: Career, 2

It’s hard to imagine a business school coming out and talking about [advertising] something other than professors, curriculum and academic rankings. But that’s exactly what we did. We knew that to really connect with today’s potential students we had to stand out in this sea of sameness with a message unique to us. Our message was that beyond the quality professors and top rankings we had the largest, most powerful network in the D.C. region. And this network held major influence on how these students could get ahead in the real world of business. It all came to life with intelligent and thought-provoking headlines and a visual treatment that was decidedly modern and sophisticated.

Advertising Agency: Carton Donofrio & Partners Baltimore, USA
Creative Director: Michael Neiderer
Associate Creative Director / Art Director: Jon Leon
Copywriters: Brad Londy, Michael Neiderer, Joe Pistone, Jon Leon
Retoucher: Chris Bodie
Photographer: Steve Belkowitz
Published: February 2013

University of Maryland Smith School of Business: Career, 1

It’s hard to imagine a business school coming out and talking about [advertising] something other than professors, curriculum and academic rankings. But that’s exactly what we did. We knew that to really connect with today’s potential students we had to stand out in this sea of sameness with a message unique to us. Our message was that beyond the quality professors and top rankings we had the largest, most powerful network in the D.C. region. And this network held major influence on how these students could get ahead in the real world of business. It all came to life with intelligent and thought-provoking headlines and a visual treatment that was decidedly modern and sophisticated.

Advertising Agency: Carton Donofrio & Partners Baltimore, USA
Creative Director: Michael Neiderer
Associate Creative Director / Art Director: Jon Leon
Copywriters: Brad Londy, Michael Neiderer, Joe Pistone, Jon Leon
Retoucher: Chris Bodie
Photographer: Steve Belkowitz
Published: February 2013