Some of the DNA Advertising team pushed aside their mice and picked up their joypads as they headed down to Extended Play, Plymouth’s first Games event discussing the future of the games industry and the positive impact it can have on the region’s emerging and talented producers, artists and developers. From console to phone, web to multiplatform, the games industry has become a dominant force in the media and design world. With the southwest traditionally being a fertile breeding ground for game developer talent, Extended Play looks to highlight the slowly emerging games industry in the region and uncover what opportunities exist for studios.

The British Council’s young interactive entrepreneur of the year, 26 year old 
Paul Croft of MediaTonic, took to the stage for his keynote, centering his talk around the ‘origin point of success’, about his experiences in becoming such a recognised player in the industry and the future of brand game design and scope for ‘advergames’.

Traditionally smaller developers take most of the risks without pressure from clients and company overheads, riding the curve and making their mark at just the right time. This window for exploitation however, is extremely narrow. As the technology and route to market become more conventional and a trend begins to form, it’s only a matter of time before well-known development houses grab the monopoly, running with the idea and doing it bigger and better. This is even more apparent today, with a 6 monthly transition in fads, making iPhone apps ‘so last season’ and with Farmville being the biggest game in the world, it’s now all about social gaming and everyone wants a piece of the pie. Although it may still seem fresh, within the industry the App bubble has pretty much burst. There is still money to be made, but with over-saturation of Apps it’s already no longer the method of choice… On the flipside, with over 61.6million active users of Farmville on Facebook, it affirms the potential of social online gaming as the next big advertising and brand building medium… In another 6 months it’ll no doubt be another story.

With two of our biggest design for print projects heading to the printers last week, the studio was on high alert as we colour-proofed and triple-checked our way through the 7 languages of the the first 3 annual Princess Yachts International brochures, and the retail and contract brochures for British Ceramic Tile – each weighing in at 100 pages. Luckily we had a helping hand (or paw) in the shape of Sarah’s canine partner in crime, Pixie. No stranger to the DNA Advertising studio, Pixie cut our colour-proofing time considerably with her keen eye and attention to detail. It was only after we discovered that dogs are actually colour blind…
Whoops!

When up in London at the weekend, I spotted an excellent billboard for Inception, displayed on the Odeon Leicester Square tower (the same as the top left billboard below). The concept of blurring realities works fantastically throughout the suite. Beneath it is a poster comparison with The Dark Knight – hmmm, there appears to be a trend forming with Christopher Nolan films…

(Opinion: Jon Price – Designer)

Earlier in the year, Paul, Simon, Matt, Rob and Jon headed down to a Design In Devon meet to see D&AD president Simon ‘Sanky’ Sankarayya discuss ‘The changing landscape of digital design’. Whilst departing his knowledge of interactive design, social media trends and their benefits to clients and audiences, he used this inspiring video as an example of ‘hacking’ technology and breaking the boundaries of interactivity within non-commercial, self initiated projects. It has to be shared – the amazing EyeWriter, ‘a low-cost eye-tracking apparatus & custom software that allows graffiti writers and artists with paralysis resulting from Amyotrophic lateral sclerosis to draw using only their eyes’.

We all believe that computer gaming over the past few years has become more interactive. To date, most of the ‘so called’ interactive games, still put you as another character within the game, such as ‘Drake’ in Uncharted (PS3). However, you are never actually yourself within the game. But surely, the whole point of interaction, is the ability to truly interact with the environment and the character/s within that environment and that they can react with you. I’m not talking about wearing a headset, or some eyewear trickery. What I’m talking about is the next generation of gaming, where you can talk to characters, show facial expressions and build a relationship with a character through the TV/Computer screen. You will have the ability to have conversations and truly interact with their environment in ways that you thought would never be possible. Anyway, enough of me waffling on, take a look for yourself – be prepared to be blown away – I was.

Article by Paul Mabin – Creative Director / Managing Director

It would seem that more than ever, designers, animators and filmmakers are using text within a real-world context. The release of Ubisoft’s Splinter Cell: Conviction saw the visual feature of mission objective reminders being projected into the environment, mapped over 3D space. The result is quite striking within gameplay and not only creates a unique visual style but as they are never part of a HUD, gameplay is that much more organic and free flowing – see the Developer Diary. Another nice example of a similar technique was used in CodeMaster’s GRID – which placed text into the world as lit and rendered 3D objects, allowing the player spin and pivot the camera around it in menu navigation and replays.

These techniques have been used for years within film title sequences, but there appears to be a growing trend to integrate them into the main viewing/user experience itself, which I for one am a fan of but only when used sparingly and most importantly, appropriately. David Fincher’s Panic Room title sequence is frequently noted as the first example of genuine 3D text in the real world, but I would like highlight a recent addition to the list… Zombieland. In this instance, the comedy horror was enhanced by the integration of its trademark rules being animated in-scene. They create laughs through comic timing and use this visual reinforcement to push rules such as ‘#2 Double Tap’ not only into the annals of cult film quotations but into the urban dictionary. Zombieland works because it pokes fun at itself, it breaks the 4th wall and has post-modern winks – feeling just as much like you’re racking up hi-scores in a video game as enjoying a passive cinematic experience. It’ll be interesting how many more films attempt to use environmental typography as a gimmick in a similar way, see: (Scott Pilgrim vs. the World)
before it gets tired. Enough talk, let’s watch;

When First DataBank came to DNA with their brief for a corporate DVD presentation to be used in a sales pack and on exhibition stands, we knew exactly what they needed. As the UK’s leading provider of drug databases and active clinical decision support, their subject matter can get more than a little complicated but with DNA’s long-standing relationship with FDB we were able to get under their skin to create this animated typographic presentation that makes it all the more clear.

The pharmaceutical sector is ruled by results and facts and that’s exactly what we drew upon to highlight the benefits of working with FDB, and the possible dangers if you don’t. In-house, DNA Advertising story boarded, animated, wrote a bespoke soundtrack and edited the presentation.

View this video on our YouTube Channel.

Check out some more of our video work on our Vimeo channel.

You may have read in an earlier blog post that we said goodbye to our web programmer, Chris Keeley a few months ago. He’s gone to further his career in software development. So now it’s time to introduce his replacement, Rob Barfield.

Rob joined us recently from local firm Integralvision where he and Simon Farrow, our Web Development Manager, were colleagues for four years. Rob’s background is in computer technology and he’s been interested in what goes on ‘under the hood’ since his schooldays. This led him to study Internet Technology & Networks at university before launching into a career in web programming.

So what skills does he bring to DNA? As well as being a nice guy (so he fits in really well here…), Rob’s proven ability to create bespoke websites will help us to offer even more complex web solutions than before. Content Management Systems, e-Commerce and payment gateways, integration with Google applications… all these skills and more come neatly packaged in our new colleague!

Rob says: “I’ll build whatever the customer needs, whether it’s a back end system or any other kind of interaction with the web”. Having built more than 80 websites, Rob has the ideal skill set to help us up our game in the fast-moving world of web solutions.

Rob also has the distinction of being the only member of DNA’s staff to live within walking distance of the office. Welcome aboard, Rob!

Back in April we won a pitch for an adoption campaign for Somerset County Council. So with a spring in our step we set to work creating a brand identity, advertising, a website and a whole load of marketing collateral. We have really enjoyed the challenge, and with the website going live yesterday we thought you might want to take a look – www.adoptioninsomerset.org.uk. The lead on the project was Somerset County Council’s PR and Communication Officer, Lyndsey Mayhew, here’s what she had to say about the process, “It has been a pleasure to work with DNA on the adoption campaign. Right from the start, I felt DNA really understood what we wanted to achieve and I was impressed with the background research and the ideas that were developed beyond the creative brief. The creation of the site and campaign tools could not have been smoother and the account team were excellent, always on the end of the phone and with no request too difficult!” Thanks Lyndsey! Next up we’ve been lucky enough to secure the Fostering in Somerset campaign too! Watch this space for updates on how we get on.

We seem to be designing more exhibition stands than ever here at DNA, and for one client in particular we’re working on them non-stop. As one of the world leaders in chemical engineering they attend exhibitions regularly, on every continent. Recently we have worked on stand designs across a variety of their product offering: Offshore Technology, Automotive and Rail to name a few. With two more exhibition stands in the studio at the moment we’re keeping busy and looking forward to seeing how our designs go down in Berlin and Orlando over the summer!

This Month saw the return to paid-for news content as THE TIMES took a bold decision to charge for access to their online newspaper. A risky strategy from Mr Murdoch but the entire industry will be watching with baited breath to see if it pays off.

As I recall, back in the early days of the web this was the first business model of most of the newspapers as they dabbled with providing content online for the first time. This model was soon replaced by the user demand for free content online and one by one the papers moved over to an Ad generated model of providing content online, one which was probably a little foreign to most of them.

Read More >>

England’s failure at the weekend was all but forgotten at DNA as we found out this morning that our Rob was sporting the new iPhone 4! He’s never been more popular, with a host of eager eyes gathering at his desk. In response to his ever-growing fan base Rob said “Pffhhhh?”. Take our words for it – It’s nice… very nice. (This photo was taken on an envious iPhone 3G).

DNA Advertising are again proud to be working with Torbay council, Creative Torbay and Torre Abbey on their latest exhibitions. After the success of TACO 09 (Torre Abbey Contemporary Open) and the Ultimate Day Out campaign, DNA have this year created an identity for ‘TAMED’ and ‘Art on the English Rivera’ as well as designing and producing the advertising and literature for the highly anticipated exhibition. Running from 6th July – 30th August and in conjunction with TACO 2010, TAMED brings the work of renown artists such as Richard Long, Heather Jansch and Damien Hirst to Torbay. See the details above or for more information or see the Torre Abbey website at torre-abbey.org.uk. We hope to see you there!

After doing some recent research for one of our clients, I came across some advertising produced for BMW. Believe it or not, these adverts were actually used, but mainly in Greece. I’m not sure that we would get away with them in the UK. If you dig deeper into these campaigns and read forums and blogs, they have been causing outrage and controversy for years, with claims that they are ‘demeaning’, ‘sexist’, ‘chauvinistic’ and ‘degrading’. However, whether we like them or not, BMW must be having the last laugh. The very fact that people are talking about these adverts all over the world, whether in a good light or bad, can only be more publicity for BMW. As the old adage goes, their is no such thing as bad publicity – however, not quite sure BP would agree with that statement at the moment.

Opinion – Paul Mabin (Creative Director / Managing Director)

I get sent a lot of emails with various images attached and some of them are worth sharing. The guy who created these images is called Julian Beever and his work can be seen on pavements in England, France, Germany, USA, Australia and Belgium. Julian creates the images using chalk, but gives his images an anamorphic look. This is an extremely skilled and difficult way of illustrating and takes years of practice. But I think you’ll agree that he pulls it off amazingly well.

Article written by Paul Mabin (Managing Director / Creative Director)

I pass this house each day en route to DNA and thought it was about time to share it with you. If there’s one thing England fans are, it’s passionate. Let’s just hope that is was worth the effort!

(Jon Price – Designer)

It’s hard to feel anything but sorrow for the BP oil disaster at the moment. I’m sure that BP are getting a lot of stick at the moment, but it seems to have spurned a lot of creativity among us designer types. Not one of the images shown are complimentary, as you can imagine, but there are some well thought out and well executed pieces of art. Some people have obviously spent some considerable time thinking of the idea and obviously feel passionate enough to create a piece of artwork that gets their point across. Just click on an image to enlarge it.

Article by Paul Mabin (Creative Director / Managing Director)

I was digging through some old browser bookmarks recently and came across this story from August ’09. In case you didn’t know, to celebrate the iconic Pantone color swatches the Basheer Graphic Book agency built a PMS Rainbow that span 8 meters and was made of 5,000 colours. Sweet.

(Jon Price – Designer)

You’re never sure what’s real and what’s computer aided trickery when watching television advertising any more. It’s easy to be fooled by high-end CGI and the artists behind it will undoubtedly say that it’s the biggest compliment that you could give them. On the other hand, there is a general presumption that anything that might have presented something a physical, logistical conundrum is most probably CGI (and that it’s actually a doddle to do in Maya). It’s a shame that the most difficult hands-on route, with the biggest pay-off, is often left under appreciated – well, as long as it gives the desired affect… That’s why I was pleased to see that for the most part, the latest Samsung LED 3D TV advertising, much like the Sony Bravia (bouncing balls) ad, was done for real.

Take a look at the making above or see the full video here.

Earlier in the week I wrote an article on the Canon 5D MKII, shooting HD content for the last episode of House. While writing that article I was interrupted by the sound of Naaa, Na Na, Na Na Naaa. Yep, you guessed it – the intro to Coronation Street. Not a programme that I generally watch, but my beloved wife Donna loves it – I wonder how many men say the same thing? Anyway, I glanced over to see the intro and noticed that, at last, it has changed after being the same intro for about a million years or so. Apparently it’s to coincide with the first episode being broadcast in HD.

Don’t worry though, you hardened Corrie fans, the cat walking across the flat roof and the image of outside the Rovers Return are still present. However, those of you that don’t like drop focus imagery are not going to like it. I think it’s a welcome addition to the Street. Let’s hope that the rest of the programme gets updated – spoken by a true ‘Enders’ fan.

Well done ITV.

Article by Paul Mabin