Apple’s new iPhone ad departs from some of their oldest and most inspiring advertising by making fun of what customers do.
Apple’s new iPhone ad departs from some of their oldest and most inspiring advertising by making fun of what customers do.
I’m curious what people make of the new iPhone 6S ad from Apple, the comedy one called “Onions”. On the surface, it looks like another one of the fun, irreverent ads that have been made for the 6S series so far — the previous ones leaned heavily on their sassy, self-reflexive voiceovers by the actress Lake Bell. It only has a brief product demo lasting about 3 seconds, followed by nearly a minute of story; it has a celebrity appearance; some humor; and a quirky sign-off that says “Onions on iPhone 6S” before “Onions” becomes “4K Video”.
While I enjoyed it, I think it perverts one of the unspoken rules that have made past Apple ads great. The people in those ads were always more creative, more talented, doing better work, and living fuller lives than the average viewer. But the ads seemed to believe that you were that person, and always spoke up to you. In other words, they assumed the best of their customers.
That’s just a company that knows how to utilize aspiration. You see it in fashion advertising, but you’re either model material or you’re not. When it comes to products that let anyone create, the dream is ever alive!
“Onions” takes a different tone. It’s a somewhat sarcastic, belittling parody that pokes fun at what its protagonist shoots, pretending to have a bit of fun with exaggeration. It says, “this is what YOU will probably make with the power of a 4K movie camera in your pocket, and this is what you probably think it’s worth: an award presented by Neil Patrick Harris. So, please enjoy your comical fantasy!”. Instead of showing an example of great accomplishment, as was the tradition, it goes for the cheap laugh. It fails at showing us something we should aspire to achieve with an iPhone 6S of our own. It’s an odd departure from a winning formula that has long defined the brand’s outlook on technology enabling creativity, and I hope not to see many more like it.
The waterproofing ad that worked better? A script that meanders about how water is everywhere on earth, making up 72% of our bodies, etc. etc. before ending on a scene where a phone gets dropped into a fountain while taking a photo. The owner picks it back up, and continues getting the shot, no beats missed. Anecdotally, lots of phones have been dropped into water by people I know, and I think this crucial point would resonate with them. A relatable real life moment, real people, and a real problem we’d love to suddenly go away overnight.
One of the immutable truths of living in Singapore and reading our national broadsheet, The Straits Times, is that your Saturday morning news will be interrupted by three large and distinctly color-coded blocks of full-page advertising taken out by the major telcos: red for Singtel, green for StarHub, and orange for M1.
In the late 90s, the brands advertised consisted mainly of Nokia, Motorola, Alcatel, Sony-Ericsson, with a few models from minor players like Sharp, HTC, and Panasonic. You’ve probably recognized the ones still around. Apart from a few new entrants like Apple, Samsung, and LG, the Saturday ad landscape was quite stable for over a decade.
Something started happening this year, around the time Xiaomi launched local operations — their first market outside of the Chinese territories. New brands have started to share space alongside the established premium brands. Oppo/OnePlus. Huawei. Asus. ZTE. All very competitive spec for spec, dollar for dollar.
It’s significant that these Chinese-designed products now share equal space with the Samsungs and LGs in expensive telco media buys, in one of the world’s most saturated and advanced smartphone markets.1 There are similar products coming out of other Asian countries2, but the Chinese brands have far more visibility here.
I won’t go into how Xiaomi employs a differentiated, social media-driven sales model, but I will say that they got a lot of positive press at the start, driving home the idea that they offered comparable quality and reliability at a fraction of the cost. But they’ve been the only ones to get such an image in the mainstream mind, to my knowledge.
The rest are coming into town aggressively — Oppo opened a flagship store at Suntec City, a central mall, and I swear I’ve seen a Huawei store along Orchard Road — but their cachet seems strongest amongst the small group of tech and Android enthusiasts attracted to low-cost, high-value devices, which are replaced frequently.3 These are not mass market items yet, and I wonder when their moment will come, if at all.
What interests me is why the telcos are throwing their weight behind these entrants. Are they a bargaining chip to negotiate better hardware prices with the others, regardless of sales? Or do the postpaid 4 margins on selling already-cheap Chinese phones to consumers just look that much better? Or could it be driven by actual market demand?
My leading theory is that it’s simply a reactionary move that doesn’t consider the longer-term effects of promoting these price-disruptive products. Why? Because telcos are instinctively programmed to serve products at every available price point.
But the low price, contract-free nature of how consumers can otherwise obtain these devices is a threat to the lucrative business of locking people into contracts. Including such devices alongside premium devices in weekly advertising validates them. In the past, doing the same with a $50 Alcatel featurephone and a $500 Nokia “multimedia computer” was apples and oranges. Now, the products at both price points are much more similar, and one of them doesn’t need to be paid off in monthly installments. Legitimising cheaper smartphones inspires potential postpaid customers to simply buy a contract-free phone online (or pick one up in a store), and then save with a prepaid mobile line instead. At least that explains why Oppo is paying downtown rent on a flagship store. The telco strategy, though, that isn’t so clear.
As of January 2014, Singapore had 87% smartphone penetration, with 29% of people owning more than one device. Anecdotally, the vast majority are on subsidized/contracted premium devices: iPhones, Galaxy S and Note models, etc. ↩
I think of this one friend as an edge case, but it’d be interesting if there were more like her: a former iPhone user, she found herself too clumsy to trust with expensive phones (they were smashed, stolen, or fell into toilets), and now uses Xiaomis because they are pretty much disposable at around USD$140 a pop. ↩
Singapore has a bit in common with the U.S. phone market, in that only a minority pay full price or even know what the actual prices of their phones are. Everyone else pays a smaller sum upfront, with the rest of the device cost bundled into monthly fees. Some of the new Chinese phones are free/virtually free at their subsidized prices, but so are older iPhones and Samsungs, and it’s hard to see the price advantage lasting. For any brand that doesn’t enjoy the recognition of a Xiaomi, that window may close when current large-screened iPhones get priced down. ↩
Choi has created a prototype for a printer called “Mink” that will let users choose any color imaginable and then print out makeup in that exact same hue (at this point, she’s only done demonstrations with blush). By allowing people to skip the expensive department store prices to make the perfectly colored products themselves, Mink could completely revolutionize the makeup industry.
She’s being deceptively conservative when she says this product would be targeted at teenaged girls; it has far larger implications for the beauty industry.
If every shade and the chemically simple products that allow people to sport them are fully open and commoditized, and large brands have few qualities to offer beyond “packaging”, and the customer knows it, what will happen? Will advertising continue to be able to sustain them by selling a lifestyle, or will the images of beauty grow wider in scope and fragment as new tastemakers emerge from online communities, e.g. YouTube stars? Sure they exist now, but the collapse of beauty brands as a chief influence for consumers would create a vacuum for new ideas to take hold.
What happens in societies where billions of advertising dollars currently spent by a few large entities, to push narrowly defined images of beauty, just evaporates?
Lots of portfolio tools advertise the ability to create a gorgeous website online within minutes, but how many are suited to showcasing a copywriter’s work? This post covers getting a basic presence up for a handful of your projects. More comprehensive site builders are only briefly mentioned.
It’s often said that people only look into their CVs between jobs, but taking stock of what you’ve accomplished on a regular basis is a really good practice. But with a standard resumé, updating a paragraph about your current employment several times a year isn’t attractive. Fortunately for people in the creative industries, there’s the portfolio, which can be very satisfying to compile, if only to remind ourselves how little victories on a project tend to make up a bigger result.
Not Your Creative Director’s Portfolio
Over the last few years, I’ve seen a fair few creative portfolios, and increasingly, when one asks to see some work, a URL gets sent instead of a PDF. When I was starting out in advertising about 8 years ago, we routinely brought physical folders of printouts to interviews. If you wanted the job, you might make an extra copy to leave behind. If you’ve heard some creatives calling their folios “books”, it’s because that’s what they really were.
Another thing that’s changed since the mid-noughties is how the presentation of a copywriter’s work has gone from showing a few ads and/or documents with long-form writing samples, to being very close to how the art guys do it. Big, colorful pictures that would reel even an illiterate eye in. Some writers’ books now haven’t got a word in them.
Most of the people I’ve met showed off work on portfolio cum social networking sites for creatives. Places with start-uppy Web 2.x names like Carbonmade, Krop, the Behance Network, Cargo, Coroflot, and to some extent, Dribbble. Some respectable, shirt-wearing creatives had portfolio sites on their own domains, and the ones who didn’t return their pencils used blogging services like Tumblr.
What I’ve noticed is that very few of these solutions are suited to the needs of creatives who self-identify as copywriters.
Copywriters Are A Needy Bunch
Designers, illustrators, and art directors are well served by the many visual portfolio tools out there. Flip through a few examples and you’ll notice a tendency to not explain the images — when it comes to showing off craft, the work often speaks for itself. Maybe it’s because most tools just don’t allow text at all, but I’ll come to that later.
I think a writer needs a little room to take his viewer through the work. So much of what we do is problem solving and just not visible in the finished consumer-facing work (nor should it be). Some of the things a writer could supply to complement a piece of work are: some background info, a project or team story, the strategic line between proposition and product, an elucidation of the idea (if one exists), how the piece works with a wider campaign or positioning that the brand has pursued, and any measured results that came out of it. Touching on just a little of the above, versus a caption reading “Banner Execution #2” on a photo of a toothpaste tube telling a joke, can help explain yourself come Judgement Day.
Five Steps to Happier Portfolioing
The more I saw, the more I started to wonder, where should a copywriter put their work online? To answer that question, I signed up for a bunch and put them through their paces, and also asked colleagues and industry friends for their (possibly subjective) opinions on the leading ones. Here’s what I know, filtered through what I didn’t like.
1. Keep Good Company
Maybe this won’t apply where you are, but Cargo (or CargoCollective) ostensibly carries a reputation for being full of student work. I don’t know where that comes from; too many cans of Heinz baked beans styled like Warhol prints? That said, there’s probably nothing wrong with using Cargo if you ARE a student. Coroflot seems to be another good place for junior creatives to get their work in front of recruiters and large brands. DeviantArt was ranked below the two, because your application will disappear into an HR drawer labeled ‘Slashfic Writers’.
For professionalism, I was advised to try Krop. It charges a not-insignificant monthly price of US$10, in the league of premium site-building services like Squarespace. I didn’t see anything that justified the price against Krop’s drawbacks. Amongst those I asked, Behance enjoys a neutral to positive reputation that will not stand in the way of your looking righteous.
As far as domains and URLs are concerned, it’s also about the right associations. If you’re on a site built for creative work, then piggybacking on their domain isn’t an issue. For example, having “behance.net/name” is okay, but “name.tumblr.com” looks like a collection of meme gifs. Using a “name.com” is great as long it’s not the “best-name-online.com” that GoDaddy recommends when your name of choice is taken.
2. Know the Tools You’ll Need
Plenty of sites simply don’t let you annotate or supply a paragraph of text beside your large and beautiful images. It’s practically textist. Krop is a major offender. And since we’re talking your garden-variety copywriter here, and not those mystical hybrid writer-designers who can tastefully superimpose text within their images, an ideal tool would allow writers to enter text on the page itself. In that regard, Behance trumps Krop, which only allows a short caption for each image. Not only is Behance free, it allows the mixing of as many images, embedded videos, and text blocks on a project page as needed.
Most importantly, if you’re going to be uploading work where you’re especially proud of the writing, make sure it can be read! Being able to click and zoom in (or load the original image) is table stakes, but plenty of sites I’ve seen don’t do it. This is the point where your portfolio’s tab gets closed and your reader goes back to a ‘Hunger Games Wedding Ideas’ board on Pinterest.
For this reason, I do not recommend using ‘free’ services that reserve this ability for paying customers, e.g. Carbonmade. Behance won’t zoom either, but you can at least reproduce your copy on the page using a text block.
3. Create a Gallery, Not a Blog
When a portfolio site is built on a blogging CMS, and looks like a linear blog, expectations are set for a diary of constantly evolving works-in-progress. Visitors will be less impressed by your last post being 18 months old, even if it was ahead of its time.
Of the sites I’ve seen built on simplistic platforms like Posterous, Tumblr, Blogger, Pinterest (you gotta see this Hunger Games wedding), too few employ themes with a static front page serving as a table of contents. If your platform of choice doesn’t let you do that, find a new one. A scrolling page of entries without proper navigation is counterintuitive to your purpose: showing your recent work at a glance, and putting more details one click away.
Some sites will also format and present a version of your resumé in addition to your portfolio. Behance and Coroflot are two that stood out for me.
4. Decide If You Want Feedback with That
Socially enabled sites like Behance are proud of their communities. You can follow people doing interesting work, and browse a stream of their recent work right from your front page. Gold stars, comments, resharing; all that stuff. But there’s a real need for portfolios that don’t talk back, and if you’re familiar with the teen movie trope of parents embarrassing their sons with baby stories whenever a girl comes over, you’ll understand not letting a potential mentor or employer see the “helpful” suggestions you’ve been given by others. Or your witty mom-centric replies.
Moreover, as we’ve already covered, many of these sites are for designers and not copywriters. I’ve heard this sentiment several times: “Designers have Dribbble, but where do copywriters go to share their work and get constructive feedback from peers?” It’s a gap that no one has filled. Until then, my advice would be to keep the two as separate as you can. Find an avenue for copy feedback that works for you, and display your work on a pedestal where it belongs.
5. Keep Open Secrets
Another feature that’s rather important but not always available: the ability to secure projects with a password. Some client work can never be fully public, but if there’s a story in there worth telling, you might open it up to select viewers. Please don’t set your password to “password” or your first name, or have no password at all and instruct the HR person to ‘just press Enter’, because that just makes it look like passwords are a new concept to you.
Choose Your Own Ad Venture
The first conclusion I drew is that you’ll want to spend some money to get this right, although it doesn’t have to be a lot. Whatever your choice, make sure it looks good on mobile devices and doesn’t rely on Flash.
My preferred solution has always been to create pages on a personal site, using whatever CMS you’re comfortable with, but that involves a fair amount of set-up and manual work. In contrast, the allure of these modern portfolio services is undeniable. Most come with the promise of page views from fellow creatives baked in, and who doesn’t like getting ‘Liked’? The drag-and-drop features and professionally designed templates are also particularly good for copywriters. Uploading a bunch of comps and artwork almost always results in a presentable page.
Of all these services I evaluated, the only free one that would meet the needs outlined was Behance. Their paid option is called ProSite, but its fancy templates frustratingly strip away the extra text that makes their free pages compelling for writers. If that gets fixed, it would be a complete winner.
If you’re willing to get your hands a little dirty, then Squarespace, Breezi, Virb, and WordPress are sound bets. The first two have no free options and start at around $8/mo for a standards-compliant, responsive design site. With templates as starting points and pixel-level control over every detail, they are suited to people with knowledge of web design but who don’t want to code.
Virb is another all-in-one hosted site & blog solution that costs the same as Krop ($10/mo) but lets you do more. There are templates that let you bundle images and text together quite simply and beautifully.
The open-source WordPress.org software is pretty much the gold standard for consumer CMS on the web, and if you don’t want the hassle of installing it on your own servers, WordPress.com has an ad-supported “hosted service” that takes care of everything for you, with few compromises. A number of portfolio-ready themes are available, but do pay for the domain mapping upgrade, because “name.wordpress.com” looks almost as bad as it would if it said Tumblr. Almost.