welcome to optimism

world war two in The Guardian

Our new press ad to support The Guardian's series on The Second World War.

And here's the TV version:

Guardian Podcasts

The Guardian invests a lot of time and effort in making a comprehensive collection of audio content, which lives at guardian.co.uk/audio. 

The Guardian's editor, Alan Rusbridger, wanted to let more people know about this so we were briefed to heighten awareness of the site and to increase downloads.

We created a newspaper wrap for impact and single page ads for reminders for each of the top seven podcasts.

Using detailed collage illustration we told a story about what you can expect to get from these podcasts and brought each subject to life. Guardian podcasts are humorous and conversational.  We wanted the ads to depict this liveliness and irreverence.

 

 

 

 

 

 

 

 

Guardian Guides

This summer, we have created some campaigns to support a series of give-away guides the Guardian has put together.  They include the guide to Secret Britain, British Walks and Summer Pubs.

In June, the Secret Britain guide came out.  It encompassed all the weird and wonderful things you can find in the UK, from haunted houses to underground caverns.  Our campaign aimed to capture the eccentricity and magic of the guide.

Then the 2-part guide to summer pubs came out: on the Saturday, a guide to urban pubs; on the Sunday, a guide to country pubs.  The content was diverse, ranging from the scenic to the more bizarre hostelries in the UK - our campaign aimed to excite people about trying out new places to have a drink.

And finally we worked on the seven part guide to British walks.  Unlike a typical walking guide, the walks were themed, so they were put in the context of art, literature, history, war, etc.  Our campaign aimed to inspire readers to consult the guide and get their walking boots on, whatever their interests.

Some new poster executions, continuing our brand work for The Guardian. All based around The Guardian's original founding values. CP Scott, who was editor of The Guardian for 57 years from 1872, bought the paper in 1907, and pledged that the principles laid down in the founder's will would be upheld by retaining the independence of the newspaper. CP Scott outlined those principles in a much-quoted article written to celebrate the centenary of the paper: "Comment is free, but facts are sacred... The voice of opponents no less than that of friends has a right to be heard."

In 1936, ownership of the paper passed to the trustees of the Scott Trust. As well as pledging to ensure the radical editorial tradition of the paper (that the newspaper "shall be conducted in the future on the same lines and in the same spirit as heretofore", in the words of the founder's legacy), the Scott Trust also has the duty to maintain a secure financial footing for the business: "...to devote the whole of the surplus profits of the Company which would otherwise have been available for dividends...towards building up the reserves of the Company and increasing the circulation of and expanding and improving the newspapers." These principles remain the only instructions given to an incoming editor of the Guardian.

The above text is quoted from Guardian.co.uk

in the army now

Appearing in a new press ad promoting the British Army zero-to-hero fitness programme in The Guardian: Wieden + Kennedy's very own heroes (from left to right) Martin, Ronny, Angus, Paul & Anna …for the official zero-to-hero Army fitness programme. An "homage' (as we like to say) to the Iwo-Jima flag image.

Their bodies are temples. And they're well hard so don’t mess with them. Even though Ronny's in his tights.

 

Guardian campaign in Creative Review

Click on images to enlarge to legible size.

Jason Bourne reads The Guardian

There's a terrific bit of product placement for our client The Guardian in the summer's big action movie, The Bourne Ultimatum. (Nothing to do with us and looks to be driven by plot requirements rather than a commercial deal.) Former CIA 'black ops' agent Jason Bourne, on the run from his former employers, is relaxing on the train reading The Guardian when he spots an article exposing a leak about himself and the organisation he used to work for. He's on a mission to track down the men who stole his past and turned him into a ruthless killing machine so he sets up a meeting with The Guardian journalist to find the source of the story.  This leads  to a thrilling and brilliantly staged sequence in Waterloo  Station, as CIA  hit-men try to kill the journalist before Bourne can get to him. It's all extremely exciting and, along the way, portrays the Guardian and its staff as being exponents of cutting-edge investigative liberal journalism. Unfortunately, it all ends badly for the journalist when he panics and fails to take Bourne's advice.

There's a little in-joke where the journalist, played by Paddy Considine, meets with his editor about the story. The actor playing the editor bears a striking resemblance to Alan Rusbridger, the paper's real-life editor.

By the way, it's a terrifically exciting movie executed with astonishing craft skills in the direction and editing. But you're so swept along by the visceral thrill of the action that you almost don't notice this at the time. A real 'white knuckle ride', as they say.

The British seaside

This is our latest TV spot for the Guardian's Guide to the Seaside, on-air now.

Shay, Keith and Anna did a great job at making the British seaside look amazing.  No mean feat in this weather.

Thanks to Sophie, Goffy, Michelle and the sun for making a rare appearance.

The Guardian Angels

Jo, Sophie B and Sophie D working on The Guardian. Lame, possibly sexist pun courtesy Simon McCrudden.

Milking it

Above is Wieden + Kennedy London's new tactical ad for The Guardian, promoting the 100 page camping guide free with tomorrow's paper. The ad goes on air today.

It was the first ever commercial created by our team Amy and Jess.

Not only did they write the script, but Jess actually starred in it (she was the hands) and Amy provided many of the sound effects, though disappointingly not the cow's moo.