abcdefghijklmnopqrstuvwxyz.

I bet there were few takers for the 1966 National Library Week brief amongst DDB New York’s creative department.
Because the previous year Charlie Piccirillo had produced the definitive ad.
It looks so simple and innocent.
But try ignoring it.
Or forgetting it.
It’s impossible.
It makes you think about books and libraries in a new way, without big dramatic photos or imaginative colourful drawings, using only
 the very product it’s promoting; the alphabet.
Whilst interviewing a couple of guys from that sixties creative department I stumbled upon this and couldn’t resist sharing it.

“One of my earliest assignments after being made an Art Director was a PSA ad for the Public Library.
Full page, NY Times. Wow.
How did this one get by my supervisor, Bill Taubin who seemed to glom all the plums?
Probably because he also assigned me a ton of small space ads for EL AL that would run in the Tel Aviv News, where the ads would be translated into Hebrew.
In any event it was a big opportunity for me and Monte Gherlter so we spent some long nights working on it.
We finally came up with the idea of using the alphabet as the visual.

abcdefghijklmnopqrstuvwxyz

I set the line in 12 pt type and placed it in the middle of a full page of white space.
Monte’s headline still holds the record of being the longest headline ever written in DDB history.
However, it was brilliant:
In your Public Library they have these arranged in ways that can make you cry, giggle, love, hate, wonder, ponder and understand.
I sent the copy out for type (remember that) and in the morning did a rough paste up.
I was so excited I decided to show the ad off to the art director next door, which just happened to be
Helmut Krone. He took a long look, then he said, or rather growled, “Boring”.

I was crushed. I spent the next 2 days and nights putting together a dozen new versions, using every imaginable alphabetical visual device from children’s blocks to a bowl of alphabet soup.
Then the trouble was, I couldn’t make up my mind. So I called Nancy and asked if I could come up and see Mr.Bernbach. To my surprise Nancy said he was coming down to see Bob Gage and would stop by my office on the way. Bill come to my office? I called all my Art Director buddies to come take a look.
When Bill came in I had all 10 versions pinned to my corkboard. He glanced around and looked as confused as I was. Then he said: “This is a really good idea Charlie, but boy did you screw it up”.

Why don’t you just put down the alphabet in small type across the page as the visual. It would be much more powerful.”
I said, Bill, that’s the way I started, but Helmut thought it was boring.
Bill shook his head, and as he walked out he said, “Charlie I’m going to see Bob Gage now, and the first thing I’m going to tell him is to give you a raise, then I’m going to tell him change your office”.
The Library ad won my first Gold Medal at the 1962 Art Directors Club Award Show.
It’s still my most treasured.National Library Week 'Alphabet', Piccarillo, DDB NY*

‘That funny looking king-size brand’ Pt 2: THE SURREAL YEARS’

B&H, 'Circuit Board 1', Nigel Rose-71
I used to walk past this poster every week for about a year .
I was fifteen an my Art teacher had got hold of a 48 sheet, or I should say 48 sheets, as it was life-size, twenty or thirty foot long, and papered the corridor leading to our classroom.
We were all bemused by it at first, but once the gold pack was discovered we thought  it was cool.
Who knew adverts could be so hip, sophisticated and playful?
It made a lasting impression.

1965: The Government banned cigarette companies from advertising on T.V.
Press and posters become crucial to Tobacco companies.

1971: The Government declares that cigarettes must carry a health warning, and that press and poster advertising must donate a strip at the bottom of their advertising to print the message ‘Every pack carries a Government Health Warning.’
In retrospect, that’s the least they could’ve done, but at the time it must’ve caused outrage in agencies with cigarette accounts; ‘You mean we need to take a piece of OUR pages and posters, space that WE’VE paid for, to say bad things about our product?’
So you’d have all the creative bods in an agency trying to say good things about their brand of tobacco in the top bit of the ad, and effectively, at the bottom it would say ‘Yeah, whatever, we think it’s RUBBISH. signed THE GOVERNMENT.

1976: The Government come up with some more rules for the Advertising industry: ‘If you’re advertising  Tobacco DON’T feature people using the product, in fact, DON’T feature people at all. DON’T say anything about the product, don’t even mention it, DON’T even write it’s name on the ad, DON’T even think about its name when you are creating these ads.
Come to think of it, the only words we want to see, and we want them in black on white, clearly legible, nice and big, saying “This product gives you lung cancer or can kill you”. Capiche?’

1977: Benson & Hedges agency, Collett Dickenson Pearce, are increasingly irritated by the number of companies aping their original Gold Box campaign.
It meant that B&H advertising was starting to get lost in the crowd.
The account guy on the business, John Ritchie, made a big call; ‘Forget all we’ve done! we need something completely new!’
It was a big ask; the ‘Gold Box’ campaign was famous, award-winning and had turned a niche product into the brand leader.
As if that wasn’t pressure enough, the new Government rules meant you couldn’t show or say anything about the product.
So not only have you got your hands tied behind your back, you have one leg tied too.

Alan Waldie 1981 1
Art Director Alan Waldie and Copywriter Mike Cozens were one of the teams given the task.
Waldie: “Days drifted into weeks and Ritchie, who was forever chasing me, said “What have you got?”
I said we’ve got something. It’s probably not quite ready. It’s a bit different. It’s dare I say, a bit advanced. I’ll need to explain it”
“You won’t need to explain” said Ritchie “Let’s have a look”.
Silence descended on the room as they gazed at some totally incomprehensible layouts of birdcages, mouse-holes, eggs, sardines.

No messages.
No words at all.
Unified only by a solitary gold pack.
A rival team had also created a campaign.
Unsure of which to go for, CDP M.D. Frank Lowe takes both to his mentor, former CDP Creative Director Colin Millward, for his view.
One will let you sleep at night, the other will make you famous’ was Millward’s verdict.
Sleep wasn’t a priority for Frank Lowe or CDP, so the ‘famous’ campaign was presented to the B&H Chairman Stuart Cameron and Marketing Director Peter Wilson.
They loved it, telling the agency to spare no expense in photographing the ads.
BH - Alan Waldie rough-01
When money was no object Brian Duffy was the guy, he was promptly called upon to turn Waldie’s drawings into photographs.

Brian-Duffy
An ‘arty’ choice.
He wasn’t the consummate commercial photographer.
He was opinionated, experimental and very creative.
Brian Duffy was one of the trio of famous cockney snappers, (the others being David Bailey and Terrence Donovan), probably the least known, arguably the most talented.

Duffy went to work and had the sets built in his Primrose Hill studio.
Duffy: ‘I changed the colour and scale of everything, which looks pretty weird today.
I played with optical illusions, since I know enough about what lenses can do and plate cameras and changing perspective.
They’re real photographs and it’s quite complex to do things like that, which look like trick photography. They’re not phoned in from the coast, it’s all done in the camera.’

The first shot was ‘Mousetrap’, showing a pack replacing to lure to a presumably nicotine addicted mouse from its hole.
He tried five different lighting set-ups before settling on the final image.
It set the style for the campaign.

BH-Matchbox-Mousehole-1977-by-Brian-Buffy
BH-bird-cage
B&H Surreal 'Birdcage'-01
Duffy’s son and assistant Chris remembers that ‘Birdcage‘ was a very simple set unusually lit, ‘We lit it with an old Rank projector light and through it we projected an image of a bird that we had reversed out on a negative.’
B&H Surreal 'Eggs'-01B&H Surreal 'Gold Ring'-01B&H Surreal 'Christmas Plug'-01
David Montgomery was then called in to shoot these two.B&H Surreal 'Art Gallery'-01B&H Surreal 'Stonehenge'-01
Adrian Flowers shot the last of the first years campaign.
B&H Surreal 'Flying Ducks'-01
The shots still look amazing.
They looked even better when blown up and put on billboards.
They were like nothing people had seen.
If they ran tomorrow they would still be like nothing most people had seen.
Here’s an from of one at Victoria Station in 1978.B&H_Sardine_Can_poster_at_Victoria_Station_London
The campaign became so famous even the Government spoofed it.image012
The brief was then opened up to the whole creative department.
Here’s what Neil Godfrey and Tony Brignull made of it with photographer Jimmy Wormser.
B&H Surreal 'Pyramids'-01
(Shot for real.
The agency and photographer turned up in Egypt on Sunday.
Scouted the location on Monday morning; perfect.
Turned up Tuesday to shoot; too hazy.
Turned up Wednesday; too hazy.
Thursday; too hazy.
Friday; too hazy.
Saturday; too hazy.
Sunday; too hazy.
Monday; perfect.
It turned out the hazy effect was pollution from the local factories, only after a weekend of not pumping out crap was it shootable.)

B&H Surreal 'Hotel Door'-01
(
This one was shot on the top floor of the National Liberal Club, the payment was the luxurious fitted carpet used for the shot.
Because the young people were in and out of each others rooms all night, photographer Adrian Flowers used a ’20 – 30 minute exposure, so that they wouldn’t show up on the film’.
Again it took a week to get a result they were happy with.)
B&H Surreal 'Sant'a Gold Sack'-01
B&H 'Pen Nib'-01
B&H 'Jigsaw'-01B&H Rain -01
Two years in, the question was asked how would this new surreal B&H behave in film?
The answer, created by Waldie, and Mike Cozens was shot by Hugh Hudson.
It was also featured in the Guinness Book of Records every year until the mid-eighties as the most expensive commercial ever made. (Worth every penny.)

This was followed by another Hugh Hudson epic, this time created by Johns O’Driscoll and Kelley. Not as famous, equally mesmerizing.

B&H Surreal 'Wallpaper' CDP-01
B&H, 'Circuit Board 1', Nigel Rose-71
B&H 'Christmas Pyramids' -01

Max Forsythe, B&H 'Heat of the night', CDP-01
Barney Edwards, B&H 'Stage', CDP-01
escapalogist_jimmy-wormser
B&H 'Magnet'-01
B&H 'Moth', Neil Godfrey, CDP-01
B&H, 'Ripped', CDP-01
Max Forsythe, B&H 'Chameleon', CDP-01
The photographer of this one; Max Forsythe recalled: “The finished shot looks very much like the original layout, but the struggle was how to light it. No conventional lighting seemed suitable.
After about 2 days of messing about I finally settled on sunlight coming through the studio window with a bit of BBQ grill to cast the shadows.

The Chameleon and the pack were both models, we did get a real one in the studio, but soon realised that it was not possible to work with it (it kept disappearing). They were about 5 times real size which made it possible to shoot on 10×8.”B&H 'Fossil' Poster-01bh_ants
B&H, 'Tubes' Nigel Rose757-01
B&H 'Bees' CDP
B&H 'Mosaic'-01
image010
The writer of this one is unknown.Pict0109
In the eighties, art director Nigel Rose takes the reins.
B&H, 'Bent' Nigel Ros-01B&H, 'Plug' Nigel Rose-01B&H, 'Window' Nigel Rose-01B&H, 'Table Cloth' Nigel Rose751-01
Here are some of Nigel’s fantastic roughs for ideas that didn’t get bought.
B&H Rough, Nigel Rose733-01B&H Rough, Nigel Rose731-01B&H Rough, Nigel Rose735-01B&H, 'Cactus 11', Nigel Rose737-01B&H, 'Axe' Nigel Rose-01
B&H 'Iron Works' CDP-01
B&H Surreal 'Shavings'-01 B&H Surreal 'Snow Footprints'-01 B&H Surreal 'Shave'-01 B&H 'Hinge'-01Rolph Gobits. B& H advertisementB&H 'Encased In Glass' CDO-01B&H 'Banana', CDP, Rolph Gobits-01B&H 'Venus Fly Trap' CDP-01B&H 'Lures' CDP-01 B&H Goldfish (Graham-Ford)
 B&H 'Pine Needles' CDP-01B&H 'Bermuda' 1B&H 'Bermuda' 2image004      B&H, 'Mercury' Nigel Rose768-01
Looking at back at these posters I can’t help wondering why people aren’t producing posters like this at the moment.
Instead of trying to shout a dull message across the street, why not create something that intrigues, makes people lean in, then rewards them by creating a smile in the mind?

Kind of interactive.

 

B&H-01

B&H Zoom Article 1-01B&H Zoom Article 2B&H - Surealism Article' Creative Review August 1985-01

B&H Article - Zoom-01