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22 February 2018
Blog
In 1949, William Bernbach, along with colleagues, Ned Doyle and Maxwell Dane, formed Doyle Dane Bernbach (DDB) Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products. The strategy was...
22 February 2018
Blog

Not too big, not too small, not too fancy, not too simple, Topo Design’s Rover Pack is the Goldilocks of rucksacks. Let’s take a closer look at the bag.

22 February 2018
Blog

The roasting process is what produces the characteristic flavor of coffee by causing the green coffee beans to change in taste.

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April 2019

43

Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products. The strategy was to keep customers by creating and nurturing them as brand ambassadors, rather than attempting to attract the attention of those who were uninterested in the product.

Read more

49

Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products. The strategy was to keep customers by creating and nurturing them as brand ambassadors, rather than attempting to attract the attention of those who were uninterested in the product.

Read more

28

In 1949, William Bernbach, along with colleagues, Ned Doyle and Maxwell Dane, formed Doyle Dane Bernbach (DDB). Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products.

Read more

48

In 1949, William Bernbach, along with colleagues, Ned Doyle and Maxwell Dane, formed Doyle Dane Bernbach (DDB). Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products.

Read more

31

He took the simple, straightforward layouts of agency principal David Ogilvy of Ogilvy and Mather and adapted them for Volkswagen. Krone’s repeated use of black-and-white, largely unretouched photographs for Volkswagen, (as opposed to the embellished illustrations used traditionally by competing agencies).

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42

He took the simple, straightforward layouts of agency principal David Ogilvy of Ogilvy and Mather and adapted them for Volkswagen. Krone’s repeated use of black-and-white, largely unretouched photographs for Volkswagen, (as opposed to the embellished illustrations used traditionally by competing agencies).

Read more

30

Bernbach’s team of “agency creatives” was headed by Bob Gage, who hired Helmut Krone, as an art director in 1954. Krone owned a Volkswagen before the agency pitched for the account. Krone, Bernbach and the first copywriter on the account, Julian Koenig, were impressed with the “honesty” of the car. Krone was an intellectual among art directors – seeking ways to lay out an ad campaign to stand-in for the product itself.

Read more

46

Bernbach’s team of “agency creatives” was headed by Bob Gage, who hired Helmut Krone, as an art director in 1954. Krone owned a Volkswagen before the agency pitched for the account. Krone, Bernbach and the first copywriter on the account, Julian Koenig, were impressed with the “honesty” of the car. Krone was an intellectual among art directors – seeking ways to lay out an ad campaign to stand-in for the product itself.

Read more

26

Bernbach’s team of “agency creatives” was headed by Bob Gage, who hired Helmut Krone, as an art director in 1954. Krone owned a Volkswagen before the agency pitched for the account. Krone, Bernbach and the first copywriter on the account, Julian Koenig, were impressed with the “honesty” of the car. Krone was an intellectual among art directors – seeking ways to lay out an ad campaign to stand-in for the product itself.

Read more

44

Bernbach’s team of “agency creatives” was headed by Bob Gage, who hired Helmut Krone, as an art director in 1954. Krone owned a Volkswagen before the agency pitched for the account. Krone, Bernbach and the first copywriter on the account, Julian Koenig, were impressed with the “honesty” of the car. Krone was an intellectual among art directors – seeking ways to lay out an ad campaign to stand-in for the product itself.

Read more

46

Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products. The strategy was to keep customers by creating and nurturing them as brand ambassadors, rather than attempting to attract the attention of those who were uninterested in the product.

Read more

38

Bernbach’s artistic approach to print advertising was innovative, and he understood that advertising didn’t sell products. The strategy was to keep customers by creating and nurturing them as brand ambassadors, rather than attempting to attract the attention of those who were uninterested in the product.

Read more
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