Category Archives: Creative News

Additional financial support released for cultural freelancers in Wales

Freelancers who have already received funding from Welsh Government’s Cultural Recovery Fund will receive an additional £2,500 to support them through this extended period of coronavirus restrictions.

A further round of support worth £8.9m has been announced by the Deputy Minister for Culture, Sport and Tourism Lord Elis-Thomas.

In total, the Cultural Recovery Fund has provided £63m to help sustain the arts and creative sector, with the hope organisations and individuals will thrive again in the future.

The Deputy Minister said: “The freelance sector plays a pivotal part in the Welsh economy and I am delighted we are able to provide additional support, which acknowledges the important contribution freelancers make to Welsh cultural life.

“The pandemic continues to present challenges for cultural and creative freelancers throughout Wales. We applaud their resilience and creativity during this period.

“We know we will need their professionalism, experience, enthusiasm and vision to help us come together and rebuild after the public health crisis has abated.”

Some freelancers who have been supported by the fund have been able to continue their creative work during the pandemic.

Lewis Carter, an award-winning indie filmmaker based in Bridgend, released a documentary, Best Foot Forward, on New Year’s Eve to celebrate and keep the tradition of the Nos Galan Road Races alive despite the event being cancelled due to the alert level four restrictions.

He used the funding for the online release of the multi-award-winning short film Showdown, which features autistic actors and is released this week.

Lewis said: “The cultural freelancer grant meant I was able to pay fellow freelance creatives that worked on my documentary Best Foot Forward, and boost the online release of my short film Showdown.

“Showdown returns home from its international festival run having received awards from two of Wales’ most prestigious film festivals, Cardiff International Film Festival, and the Bafta-qualifying Carmarthen Bay International Film Festival.”

Bridgend County Borough Council Leader Huw David said: “It’s wonderful to hear that this vital Welsh Government funding for our creative sector is helping to support local freelancers like Lewis to continue their work during the coronavirus restrictions.

“Freelancers who have previously received support will receive a self-declaration letter, which they will need to respond to for the funding to be released.

“The fund is not be open to new applications but anyone who missed out on the funding originally can apply for the Local Discretionary Grant. More details are available on the Business Wales website.”

 

Eight steps to creating award-winning podcasts

Laura Smith, Managing Editor, Speak Media, considers the steps that can help your podcasts reach your audience and impress awards judges

With few barriers to entry and a relatively simple set of technologies to master, podcasting provides a great way to present your brand’s key messaging and news in a warm and social manner.

However, while it is easy enough to launch a podcast, it is significantly harder to create one that is successful – and one that generates listeners who decide to return to the podcast again and again.

Speak Media and our client, the European Parkinson’s Disease Association (EPDA), did just that with the Parkinson’s Life podcast. The series extends our lifestyle magazine for the global Parkinson’s community into the audio space – and was recently recognised as best audio campaign of the year at the Global Content Awards.

So how did we do it? Here are eight tips that might just help you to create much-loved podcasts…

1. Define your aims from the start
Be clear about what you are trying to achieve. Our aim with Parkinson’s Life was to create useful and engaging content that supported existing content channels, while also reaching a new audience via audio on previously unexplored channels. Tone was crucial: we wanted our podcast to be filled with life-affirming “beautiful stories of hope” that both acknowledged the reality of the condition and shared ideas for living with it in the best way possible.

2. Do your research
Don’t walk into podcast development without first carefully looking into what is already out there that fulfils the needs of your audience. Review a broad range of competitor podcasts and home in on any gaps. Once you have a proposition in mind, create a clear brand identity to stand out in a crowded marketplace, including unique visual artwork, as well as choosing the right music to set the mood for each episode (see point 7).

3. Centre personal stories
People want to hear about people. So even if you want to disseminate factual information, find a way to do so through personal stories. We made sure that while health professionals were invited to contribute, these guests would always be speaking in collaboration with people who are directly affected by the condition. This allowed us to avoid becoming a webinar-style ‘information dispenser’, and instead became a place to explore what it really means to live with this incurable neurological condition.

4. Keep it conversational
It was important to us to centre on the experiences of real people. So rather than using a more traditional interviewee/interviewer format, we adopted an ‘in conversation’ approach, where two or more people with direct experience of Parkinson’s were given the space to explore openly and honestly what the condition has meant to them, unmoderated by a presenter. Subjects ranged from exploring the challenges of parenting and managing working life while living with the condition, to what it’s like to care for someone with Parkinson’s.

5. Take a multichannel approach
Consider how you can share your podcast across multiple audio channels such as Soundcloud, iTunes and YouTube to maximise your reach, while also finding ways to integrate it into your written channels. A dedicated section on your website or regular promotion in your e-shot are good places to start. Think about ways you can take bite-size audio or video clips and use them across your social channels.

6. Create episodic themes
A great way of creating a sense of purpose within individual episodes is to make sure each has a specific theme. We had six episodes covering topics including: how Parkinson’s can affect creativity; the challenges of parenting with Parkinson’s; the difficulties surrounding managing working life while living with the condition; and how women experience the condition differently to men (as part of our #WomenandParkinson’s campaign).

7. Use music effectively
You already know music can lift a film or TV programme, and podcasts are no different. Think carefully about the mood you want to create. What emotions do you want your audience to feel? How can you use music to signpost different parts of your show? Explore the myriad music libraries out there for intro and outro options; short ‘stings’, which can mark transitions between segments; and the music ‘bed’, which might come in quietly as the presenter starts to conclude the episode.

8. Enjoy it
There’s no hiding with audio. How much your team love communicating in this way will come through to listeners loud and clear. Wherever and however you record, make sure presenters and guests are well prepped and comfortable. For the Parkinson’s Life podcast, each of our recording sessions involved guests in up to three locations around the world, which definitely added to the complexity of the set up! But careful prep ahead of time ironed out any glitches and ensured guests felt secure talking openly with each other. The result? Beautiful conversations.

AML Group boost creative team

London-based ad agency, AML Group, has today announced the appointment of Lizzie Hutchison to the role of Midweight Copywriter.

Lizzie joins the agency from VCCP CX where she was a Midweight Creative working across a broad portfolio of brands including: Domino’s, Canon and Chubb. Prior to this Lizzie was a Copywriter at LIDA (now M&C Saatchi) contributing to campaigns for many of the UK’s best-known brands including: O2, Boots, IKEA, The Open University and Superdrug.

“Lizzie is a hugely talented writer with a wealth of experience and we are very happy to welcome her to AML” says Ian Henderson, ECD, AML Group.

Lizzie joins a growing creative team that includes Chris Walker, Head of Art and the Senior Copywriter, Dan Wright.

“I’m pumped to be joining AML for a whole host of reasons” says Lizzie “but mainly because they work in really interesting sectors, deliver great creative and are genuinely really lovely people.”

JDO make strategic move with senior hire

JDO, the global brand design agency, has today announced the appointment of Ashleigh Steinhobel to the role of Senior Strategist.

Joining from Pearlfisher London, Ashleigh brings a wealth of experience to JDO’s growing strategic offer and will work across the agency’s broad portfolio of international clients including: Shell, Pepsi and Dove.

“JDO is at a very exciting time in its growth as an agency,” says Ashleigh Steinhobel. “There are some fantastic projects on the table and I’m delighted to be part of an exceptional team, and to help drive the agency’s strategic offer forward.”

JDO Brand Design has built an enviable reputation for delivering world-class strategic creativity across a variety of sectors. Commenting on the decision to appoint Ashleigh, Fiona Florence, MD, JDO says:

“Achieving real brand impact today requires us to stretch above and beyond to develop the best impression possible. Ashleigh will provide a fresh perspective, raise the bar, test a new approach and forge distinctive new experiences.”

To learn more visit: https://jdouk.com/

Manchester’s Absurd debunks common myths around Design Sprints

Design Sprints are a popular element of the wider digital design process, to help organisations define and create effective user-centred service experiences. But as the technique has grown in popularity so have the many misunderstandings around what they can and can’t achieve.

Oliver Bailey, co-founder of Manchester-based digital agency Absurd, debunks common myths around Design Sprints. “We’re big fans of how effective Design Sprints can be for engendering co-creation and for finding solutions to business problems.  By the nature of their structure and intensity they can be extremely valuable to a wide range of business – from start-ups to large established corporations.

But if I had a pound every time I heard a misconception about what they can and can’t do I’d be quids in!

Here’s the five biggest ‘myths’ about Design Sprints we frequently hear which I hope will go some way to explain how we ensure that the investment is a worthwhile one… when done right.

 

Myth 1: “A five-day design sprint will give me a finished, ready to roll out solution”

Of course, if you read all of the hype around Design Sprints and how they solve business problems in just five days, you’d think that this means that you have a solution to roll out at the end of it. Well, yes – in some cases a Design Sprint can lead to a prototype that’s been user tested and proved viable – but to really get the solution to ‘work’ investment in product or service design doesn’t stop there.

The main premise of the Design Sprint is to get to the point that you have validated the idea or ideas and keep iterating. The Design Sprint is the an element of the larger service design process – where human-centric design involves further validating ideas and service propositions to make good ideas even better and to ensure the organisation invests in the right roadmap.

 

Myth 2: “As the client we don’t need to prepare; the agency/design team will sort it all”

The most effective Design Sprints are ones that start on Day Zero (or minus five) not Day One.

The very nature of a Design Sprint is that it is interactive and user focused. A solution isn’t handed on a plate – the process is there to facilitate, so the more people can bring to the party the better. And as Design Sprints are about problem solving, so more ground work regarding the current situation means the Sprint team can hit the ground running.  It can save time and frustrating eye rolls if everyone is armed with information from both within the business and the strategists before the process. It’s then true collaboration at its best.

Key to the agency’s role is that all participants are briefed, know what is expected of them and what the goal of the technique is.

 

Myth 3: “It will require five full days of my / my colleague’s time that I simply don’t have”

There are two issues here. First of all a Design Sprint doesn’t always have to be across five days. This is the standard framework but not the only way.

Secondly, the same people do not have to be active within the process for the entire scope of the Sprint. It’s essential that the group – from across the organisation – begins the process, to identify and agree the goals of the sprint, to map out the challenge and to be part of the exploration into potential solutions. But there are elements in the technique that can be left for a core group to work into storyboards and protype designs that will mimic the final approach to have ready for testing.

 

Myth 4: “It’s a cheap way to get design work”

This is perhaps one of the biggest misconceptions around Design Sprints. Of course, some amazing results can be born out of the process – but the Sprint is the tip of the iceberg in terms of creating a finished design. It’s not a ‘short-cut’.

Its value is exploring new possibilities and challenging preconceptions, but the true value is then how this prototype is then fully developed and created. Not left sitting on a shelf somewhere.

If you’ve managed to create a super shiny prototype that’s ready to roll out then you’ve perhaps not spent long enough ‘exploring’ and getting to the real issue. Or your design sprint has been a huge success of course!

 

Myth 5: “I know nothing about design so I will add absolutely no value”

If there is one thing our experience of running Design Sprints has shown us is that often the best ideas don’t come from designers – or even ‘the boss’.

And as with all service design, the priceless aspect is having all key stakeholders involved – each bringing their in-depth knowledge of how a business operates. There is little point in finding a solution that cannot be integrated with existing tech or processes – unless a transformation is the objective.

Just like with all aspects of a service design approach, to solve business problems, research cannot sit in a siloed team. Great service design comes from strategists, designers and technologists working on the ‘problem’ from the start.

 

For more information visit www.thisisabsurd.com

Quality Assurance – the Cinderella of the digital industry

Once perceived as the ‘poor relation’ within development teams, the ubiquity and value of high performing digital solutions has put the role of quality assurance firmly in the spotlight. With both businesses and consumers demanding so much more from digital technology, an unreliable, unintuitive and clunky platform can quickly damage reputation and significantly impact sales.

A highly skilled and efficient QA team should be an integral part of any digital agency or in-house team, yet many have been slow on the uptake. Lewis Counsell, Head of QA at Access, explains why in today’s digital landscape failing to invest in QA will result in a monumental digital #fail.

“One of the fundamental shifts in QA beginning to get the kudos it deserves is that the culture of throwing releases over the fence has, thankfully, now ended (in the main).

Gone are the days when QA teams work in isolation of the programming department. QA roles were often viewed as the poor cousin within the process by the programmers, with systems developed in a waterfall model and new releases passed to QA at the final stage of development – often resulting in last minute, costly and time consuming fixes if issues did occur.

In the past 20 years things have evolved significantly. In today’s always on world, technology permeates into all areas of our lives and is used to create solutions for every activity imaginable. As consumers we expect this digital technology to work efficiently and without glitches, every single time.

Rapid turnaround of updates to fix issues, and the design and development of competition-beating functionality, is now the norm. Clients are demanding slick and seamless online solutions which can be updated and refreshed at pace. For rapid software development people are moving away from the Waterfall model and toward the Agile Methodology which has increasingly placed the role of QA in its rightful spot at the heart of software development.

Digital businesses should be involving QA at the client briefing stage, allowing the team to gain a clear understanding of requirements from the client and stakeholders themselves, to help define acceptance criteria.

And if done correctly, this will undoubtedly add significant value to clients. The main three ways are:

Reducing cost

Perhaps one of the crucial areas for any client/agency relationship is budget – identifying tests early and finding any issues in-house before sending projects out for customer User Acceptance Testing ensures that there is less “toing and froing” of issues for development to revisit. This also reduces the time and involvement for the customer UAT process.

Reduced risk and regressions

An in-house QA process can also reduce risk. Some clients may not have dedicated IT staff, so having a QA team with an in-depth understanding of the software development processes and direct contact with the development team, ensures that areas of risk that might not be apparent to the external user can be identified early. Regressions – bugs that creep into previously working areas of systems because of new software developments – can also be easily managed. QA teams can build up suites of tests that can be rerun on high value areas of projects to ensure existing functionality is not compromised.

Improved brand reputation

Finally, it’s important not to forget the impact on brand reputation that can result in lasting damage if a website is glitchy and unsecure. A thorough and integrated QA process means that websites are developed to the highest quality, which in turn can significantly improve brand satisfaction.

QA is also increasingly a key factor in tender pitches and having a clear and efficient system in place can be crucial in the success or failure of this process.

An agency built on insights, innovation and providing clients with tangible and high quality digital solutions, Access has invested heavily in QA for a number of years. The growing team is an intrinsic part of the development process. From being involved at the briefing stage agreeing meaningful and measurable acceptance criteria with key customer stakeholders, through to quiding UAT testing. This continuous quality assessment through the development lifecycle reduces the risk and impact of releasing new software.

Test automation is another area which is increasingly being developed by the agency. Underpinning the work of the wider QA team, automation provides quick, repeatable tests that reduce the time for completing test sets and ensure tests are performed in the same way every time. This improves the consistency and frequency at which tests set can be run in comparison to running the same sets manually. They can also be triggered automatically as part of the development build processes to ensure that fundamental functionality has not been compromised.

At Access we implement two levels of test automation. Developers utilise functionality of Behat testing to ensure that certain critical parts projects are built correctly and have key functionality even before the developers perform their unit tests. The QA team also implements code (using Java and Selenium Web driver) that mimics the interaction of users with critical parts of websites to ensure that these have not been compromised with any new release.

It is clear that the role of quality assurance in digital development is only going to become more important. As we continue to rely on technology to hold our valuable information, specialist roles across security, performance and load testing will only increase. The role of a QA tester is multifaceted – from a keen eye to detail, critical thinking, problem solving and programming skills, through to excellent communication skills and a creative mindset – this is set to be an in-demand career that will form the lynchpin of many digital agencies.”

Lewis Counsell is Head of QA at Access (www.weareaccess.co.uk)

How Absurd Transformed Electrical Safety First into a Digital Disrupter

Oliver Bailey at Absurd, explains how they transformed the digital strategy for Electrical Safety First

Sometimes the only way to facilitate genuine change and become a true disrupter in your sector is to overhaul your digital strategy completely – even when it appears to be working.

That’s exactly what we did for consumer protection charity, Electrical Safety First – shifting a content-led, always-on approach, which was inciting spikes in consumer engagement, to a customer-centric digital product strategy that has not only significantly increased a consistent flow of site traffic and engagement, but attracted a substantial amount of funding for the charity from corporate partners.

While a new content-led strategy, introduced in 2018, drove an uplift in traffic to www.electricalsafetyfirst.org.uk  of around a third – further research into the wants and needs of the charity’s audiences showed that rather than just promoting behaviour change through communication, a more effective strategy would be to solve genuine consumer problems and cut through the noise with tangible and engaging digital products.

And adopting this change of focus transformed the charity’s digital presence.

There were three strands to the process:

 

Intuitive User Journey

Electrical Safety First is dedicated to reducing the number of injuries and deaths caused by electricity; it campaigns on a number of key issues including the risks of buying counterfeit electrical products, the roles and responsibilities of landlords, the importance of using a registered electrician and improving the product recall and registration process.

With so much campaign information and important consumer advice to communicate, we started by overhauling the charity’s current website, making the user journey more intuitive and maximising the wealth of information that the site hosted.

Central to the product strategy is a new Knowledge Base that invites users to ask Electrical Safety First anything – and intuitively serves relevant information from the 5000+ pages of information on the site. The Knowledge Base has also been optimised for voice allowing users to get answers to common questions easily from Electrical Safety First as a reliable, expert source.

Since its launch, searches on the site have increased by more than 75 per cent and there have been a significant number of repeat visits as consumers continue to turn to Electrical Safety First as a reliable and easy to use source.

 

Delivering the right things in the right way

Continuing on our ambition to deliver the wealth of information offered by Electrical Safety First in the right and most easy to access format, our next task was to create genuine cut-through when it came to the potential life-threatening issue of electrical product recalls – ensuring that the charity was at the forefront of driving consumer awareness and action.

Research shows that electrical product recalls have a success rate of between 10-20% resulting in a quagmire of hazardous appliances still being used in UK homes. Currently the only way to contact customers about a recall is if they have registered their item when purchased – paperwork that many people ignore. We set about tackling the barriers to getting consumers to take the risk of a recall seriously, with minimal impact to their time and cutting out all unnecessary admin.

With consumers increasingly turning to virtual assistants such as Amazon Alexa and Google Home, especially as they spend more time working and socialising at home, we identified that voice technology could make this process easily accessible and a task that they could engage with at leisure or “in the moment”.

We developed an Alexa app which simplifies the recall process. Asking Alexa makes it easy for users to make ad hoc checks on their appliances whilst carrying out household tasks without having to resort to adding serial numbers into a website. Consumers simply say the item’s brand name and model to check if it is currently on a recall list. It also incorporates other helpful electrical advice as well as a fun ‘How Can It Kill Me’ game, originally developed to target students, which highlights electrical dangers in the home.

The result? Overall searches for product recalls are now up 60 per cent year on year and continuing to rise – increasingly through voice.

 

Consumer-first approach

Our user research has also helped Electrical Safety First tackle another crucial campaign area – raising consumer awareness around counterfeit electrical goods, especially when purchasing from online marketplaces like Amazon and Ebay. One of the main issues that we identified is that some customers are unaware of how the marketplaces work, not understanding that they are often buying from an unregulated third party.

Again, we needed to make this education process seamless and part of the customer journey – with no additional admin that would take up precious time. The solution was a browser plugin that was launched for Chrome first (as our MVP), and then rolled out for Edge, Firefox and Safari.

Once downloaded, the Check It Out plugin displays a logo and warning when consumers are browsing or about to buy a product from a third party, warning them that they are not purchasing from the manufacturer or trusted retailer. To date, the tool has indexed well over 500,000 products.

 

Commercial Partnership Funding and increased consumer engagement 

The transformation of Electrical Safety First’s digital strategy has strengthened the charity’s status as a force to be reckoned with when it comes to championing consumer safety around electrical issues.

It has garnered the attention of large national retailers including the Kingfisher Group, Carphone Warehouse and Beko (as well as government bodies) as a result, and ESF has received significant campaign funding to progress this crucial work.

To cut through the noise of the endless content with which we are being bombarded, we have placed the customer at the very heart of digital innovation and the results have spoken for themselves.

  • Bounce rate has reduced as consumers find exactly what they need (with a reduced number of pages being visited as the search functionality improves the user journey)
  • Sessions have increased and direct traffic has also risen by 15%
  • Brand engagement has improved and social referrals are up 200% with consumers much more attracted to the site’s content and functionality

To learn more visit https://www.thisisabsurd.com/

 

Waste boosts entertainment marketing credentials with appointment of Michael Rekab as Lead Strategist

Independent digital creative agency Waste has announced the appointment of Michael Rekab as Lead Strategist, as it seeks to bolster its fan-first offering for entertainment brands.

Rekab joins from Irish strategy agency MCCP, where he was Senior Strategist specialising in brand and communications strategy and innovation, for brands including National Lottery, Jameson and Heineken. He also brings extensive experience in entertainment marketing to Waste, having helped to develop through-the-line campaigns for brands such as Virgin TV, Entertainment One and the Irish language TV station TG4 since starting his career in 2013.

In his new role at Waste, Rekab will focus on the agency’s gaming and entertainment clients including Nintendo, SEGA and Supercell, helping gain a better understanding of brands’ fan communities and sub-tribes, and delivering compelling content and campaigns across the entire fan ecosystem.

He will report to Christian Perrins, Head of Strategy, with joint oversight of a team of seven data, creative, and SEO strategists.

Rekab has previously held positions at Publicis Dublin and Zenith Ireland.

Michael Rekab, new Lead Strategist, Waste, said: “Digital has given us new and exciting ways to reach our audiences, but I believe it’s essential for brands to create work that connects with people on a human level, too. I can see that Christian and the team at Waste share this belief, which is why this is such a fantastic move for me. I’m excited to be joining at a time of real growth and innovation for the agency.”

Christian Perrins, Head of Strategy, Waste, added: “Michael’s a ‘human’ strategist who’s as big-empathy as he is big-data. Our work is increasingly powered by nuanced understanding of fan-tribes, their distinct emotional and rational needs and channel behaviours. Michael will help us deliver that blend of deep personal insight and big-picture ecosystem thinking. We’re delighted to see him become part of the Waste family.”

Very.co.uk’s new Christmas campaign celebrates every single moment this Christmas and humorously rejects Christmas day cliché

Very.co.uk has launched a heart-warming and funny new Christmas campaign, created by Grey London, which encourages us to embrace every single moment in the countdown to December 25th instead of focusing on the clichéd portrayal of Christmas day.

The charmingly honest film sends the message that the best thing about Christmas is not just Christmas day but the combination of all the wonderfully festive moments in the build up to Christmas, from Christmas lights and the all-important tree to Christmas jammies.

The TV ad, which is called ‘Jodie’ and was directed by Gary Freedman, opens with an implausibly perfect Christmas day celebration before the camera pans out to show that it’s a clichéd Christmas TV ad being watched by a family who are scoffing at it, with the dad exclaiming: “What a load of rubbish!” The mum then addresses the camera directly to say: “You know what Christmas moment I like? Every bloomin’ one of them!”

The music ‘Hot Love’ by T Rex kicks in as the mum, Jodie, goes on to list all her favourite festive moments, including the neighbour’s Christmas lights display zapping the National Grid, getting a 12ft tree into a 10ft room, terrible Christmas music like Crazy Frog’s version of Jingle Bells, and getting and giving presents to absolutely everyone, including the postwoman and the bin man, with help from the Very.co.uk app.

The 90 second spot ends with the line: ‘Christmas is full of amazing moments. Christmas is this Very moment’. The TV ad, which launches today in primetime during ITV’s Pride of Britain, will be supported by an out-of-home campaign, print and online ads. It will be followed by a 60 second version and shorter formats highlighting all those different festive moments in the run up to Christmas.

‘Christmas is this Very moment’ is the second campaign created by Grey London for Very.co.uk and follows the agency’s campaign for the online retailer in October which focused on celebrating all of life’s little moments of joy right now, with the tagline: ‘Life is this Very moment’.

Carly O’Brien, Chief Marketing Officer at The Very Group, which operates Very, said “It is great to see our new brand platform, ‘Life is this Very moment’, brought to life for Christmas with a truly uplifting campaign that we believe our customers can relate to. It’s honest, raw and captures what’s really special about the whole of the Christmas period, not just the day itself. It is a celebration of every single moment in the countdown to December 25th and it goes beyond the festive celebration, which we know might not be the same this year.”

Javier Campopiano, CCO Europe and Creative Chairman London at Grey, said: “We are thrilled to launch the newest and biggest instalment so far of the new creative platform, ‘Life is this Very moment’. It´s rare to see a pitch winner campaign coming to life, so this is a particularly special campaign for us as an agency. It also means the brand platform is so relevant that it can go through a pandemic and become even more meaningful”.

He added: “It’s a different Christmas message, a message that offers the unfiltered point of view of someone who truly loves everything about Christmas, every single bit that makes it such a magical season. Not only is it different to what the brand and its customers have seen before, but we’re confident it’ll resonate right now, when we’re facing the prospect of a very different festive period.”

Create Health – Bristol-based Healthcare agency – joins The Network One

Strategic and creative healthcare agency, Create Health, whose creative work includes global and national campaigns for big healthcare brands such as Thermo Fisher Scientific, ConvaTec, BD and HOYA, today joins The Network One, the world’s largest independent advertising and marketing agency network.

The Network One provides independent agency owners and senior directors with the opportunity to stay ahead, network, share and learn through member workshops, global conferences and specialist publications.

Ed Hudson, Managing Director at Create Health, comments, “Joining The Network One is an opportunity for Create Health to deepen our reach internationally, mirror our global client base. We look forward to collaborating with an exciting network of creative independent agencies; so we can learn from them and collaborate with them.”

Create Health joins over 1,200 agencies in 109 countries within the network and aims to seize the opportunity to partner with independent agencies from across the globe, joining a community that is passionate about in furthering the cause of creative marketing.