Located in the centre of Leicester, a dedicated team of creative experts, designing and producing memorable work.
Originally starting in the industry as a lowly Production Assistant at Big Communications in 1997, Paul moved to HTA, becoming Production Manager and looking after production for accounts including Start-Rite, O’Neill’s, Royal Doulton and Church’s Shoes. Paul then changed roles to Account Management and started working with Nick Stevenson, forming the basis for their working relationship. Following the creation of Fluid Thinking, Paul has put his production skills to good use developing long standing relationships with clients and the digital side of the business to further expand the range of services Fluid Thinking offers.
Nick cut his teeth working for Grey Advertising on national consumer facing accounts such as British Gas, Rawlplug and other retail accounts. A graduate in graphic design with over 30 years experience, Nick Co founded Fluid Thinking in 2005 together with Paul Mussett. Nick has helped to grow Fluid Thinking at a steady pace, retaining a firm business base with inward investment into talented individuals. A strong loyalty to clients has been rewarded by successful client and supplier relationships based on trust and high levels of service to all clients – big or small.
Chrissie has gained a broad scope of experience over many years with local creative agencies. Primarily looking after client bases in North America and Europe, she most recently managed the marketing needs of NSK Bearings, the European arm of a global business. Chrissie has over 40 years of experience in print and production management, and has established a good rapport with our suppliers. Chrissie now manages our day to day office administration, and handling the financial services of the company.
Joining the Fluid Thinking team in 2016, Kevin’s expertise lies in advertising and retail, having worked in these industries for over 10 years. Most recently he worked at McCann as a Senior Account Manager, for British automotive client Vauxhall. A graduate of Advertising and Media from Coventry University, Kevin has experience in managing high level global campaigns, ensuring a smooth operation and successful completion. Focusing on Fluid Thinking’s business development, he is often seen pitching fresh and innovative ideas to new clients.
A Product Design graduate in 1999, Luke went on to work at a number of in-house creative studios, in various roles from Publishing Officer to Studio Manager. In producing catalogues and sales literature for scientific instruments and home office products, Luke honed his skills to become a skilled artworker. Since joining Fluid Thinking in 2006, Luke has worked on the production of multiple language documents for international clients and helped maintain a consistent throughput within Fluid Thinking, from artwork to production.
A graduate with in-house and agency account handling and project management experience, Julie previously worked as an account manager for a niche agency specialising in employee engagement. Experienced in producing and managing project plans, managing budgets, writing creative briefs, copywriting, proof reading and quality checking. Prior to joining Fluid Thinking, Julie worked as an account manager for a specialist publisher and as an in-house photographic and brochure executive for two tour operators.
A Graduate from Loughborough College of Art & Design back in 1987! As well as working and freelancing for numerous leading design consultants, Rob paddled his own boat for over 16 years running his own design business, before jumping ship to Fluid Thinking in 2014. Primarily a creative designer, Rob has a passion for branding combined with extensive knowledge of the production process. Rob’s experience covers a broad range of sectors including B2B, Retail, Education and Tourism.
Our agency is built on achieving results and effectiveness, every time. What is all this creativity worth without people acting on it? Nothing. That is why we invest so much into the brands we work with.
We provide fully integrated creative services, from concept through to production. Including advertising, branding, creative services, design, digital, packaging, point of sale, PR, production and social media.
Brand development and asset creation (photography and cinematography) for B2B company Aspex, supplying architectural and construction solutions and products.
Centred around the ‘Novista’ door range, the word is derived from a blend of English and Italian, meaning ‘no view’ and this perfectly describes this door system with a hidden frame, which allows the door to blend in with the wall with no unsightly architraves required.
Launch materials and video for MTT – Stanley Mobile. Creative concept developed for use across European territories capitalising on the product USP – indestructible/unbreakable phone.
We aimed to reflect the STANLEY brand values approach and show how the STANLEY Mobile helps to get the job done more effectively.
Design and development of Encore Environment website.
Encore are a waste management resource business providing service and delivery to support sustainability policies.
It’s just 4 degrees and there’s a significant wind chill blowing up the Humber estuary as I find myself with an awesome location ‘canvas’ for some DeWALT tool application shots.
After much organisation and the enthusiastic support from the Humber Bridge Board (not to mention full H&S risk assessment and PPE) we’re on the specially closed walkway with the some of the latest DeWALT tools and accessories.
What’s not to like? Top tools, a great location and the prospect of some great images in the making. Cut to a few hours later and alas, it’s too windy to film 150 metres up on the towers (it is the penultimate day in November after all) – so instead, we’re below ground stationed in the anchorage chambers, where and unbelievable 71,000 kilometres of cable, supporting the road deck and the walkways of this iconic bridge, come to rest. Now we’re shooting DeWALT Adhesive anchors, in a place that thousands of people pass over each day but few think about or certainly have the privilege of seeing. The chamber is something akin to a villainous lair from a James Bond film – complete with man size vents and steel walkway ladders for fist fights. But it’s calm and good natured as we attach nozzles and dispense resin anchors into concrete holes drilled using the latest DeWALT hollow core drill bits, whilst 60 metres above us, the world goes by…
The Fluid Thinking team dusted off their running shoes, tightened their spokes and donned their lifejackets for the Triathlon fundraising event at Carsington Water. Those of you who know us well will know that we’re a varied team of talents within the company and hope to have brought that mix to the TwentyTwenty Prima Solutions challenge, along with some first aid skills and a few sticking plasters & deep heat rub!
It was a resounding success with Team Fluid raising over £1,000.
This year’s 24 hour Le Mans LMGTE Pro category was claimed by Aston Martin in the final lap, and it came down to a nail-biting finish. Corvette Racing driver Jordan Taylor was playing a successful game of keep-away from the No. 97 Aston Martin of Jonathan Adam—only, Taylor threw that lead away when he short-cut a chicane and damaged the Corvette. After 24 hours, across the finish line were Dunlop tyres. Commenting on the tyres it supplied for the race, Dunlop stated that the new tyre range had been designed to suit a wide variety of temperatures, and selection is based on the individual driver/chassis. Understandably, having a part on the winning car is something to shout about, and that they did with the help of Leicester agency, Fluid Thinking.
A display was needed to exhibit one of the tyres used during the crucial last stint, which included the decisive overtake. Keeping the display as authentic as possible, the tyre was left in the same state as it was when the race was won (confetti intact). The requirement with this brief was to be informative, exciting and practical…a tyre can be a tricky item to present in full view without it tipping over or rolling away.
Concept: Minimal footprint – Tyre in cradle shape – Dynamically shaped backboard
The DUNLOP yellow is the perfect contrast to the tyre, providing the perfect surface colour for the cradled base design. The DUNLOP Brand identity follows, quite literally, the ethos of FOREVER FORWARD with italicised fonts and a strong triangular graphic style. All of these were harnessed in the outline shape of the stand with an asymmetrical graphic backboard emphasising the forward motion.
Last week’s news is no good; so we needed to turn around a design, manufacture and delivery quicker than a Corvette.
In 2005, the world was a very different place. Back in those days, our circle of clients and contacts was significantly smaller but our ambition was always bigger. As a new kid on the block, you need to stay focussed on service but that’s something we’ve never actually stopped doing.
The creative industries are by nature a constantly shifting network of communication routes, created by client’s own marketing needs. Over the years, we’ve learned to embrace this shifting sea, riding the waves together with our clients, evaluating the marketing horizon and adjusting our courses accordingly.
Maybe that’s why many of our client relationships developed in the early years have endured, most of our original clients are still clients.
Being born out of a full service agency environment, we’ve never shied away from the variety and complexities of marketing communications and, over 10 years we’ve gained an even broader skill set to satisfy even the most unusual of demands. As our business has grown we’ve grown our team. From our original offices in the Old Schoolhouse, we’ve expanded to fill three floors of St. Stephens House, investing in new talent along the way each bringing their own experience and skills.
As to the next 10 years – no one can predict the future, but we can all be involved in making it so here’s to new challenges, new clients and attracting more Fluid Thinkers!
Back in March Kevin Palmer and Nick Stevenson spent a few hours with the education charity TwentyTwenty, giving the students there an insight into the advertising and creative industry. The time couldn’t have been more well spent. When you introduce a young person to different career paths and options out there, you greatly increase their likelihood of sustaining long-term employment.
For me it was an overly familiar experience – not in speaking or presenting, but as a student myself being educated. – Kevin Palmer
How easy is it to find yourself disengaged and feel let-down by the mainstream education system, and ultimately unemployable, when you’re a young person today? Today, where almost 65% of the future careers these students might have, don’t currently exist. Where most of what they are taught, they feel is irrelevant to what they want to do as a job. Where the education format and structure is incompatible with their way of learning, and with the challenges they might face outside of school. Then stigmatise and label them ‘lazy’ or ‘troubled’… are you surprised there is an unemployment issue in this country among young people?
TwentyTwenty is a charity that sees potential in every young person, no matter what they’re up against. They offer support, personalised coaching and a wide range of effective courses. You could write a book on the great work they do, but you’re better off seeing it for yourself – www.twentytwenty.org.uk
Who knows, maybe I inspired the next Ogilvy or Saatchi yesterday? What I do know, is that I met with some incredibly talented young people who deserve a bright future.
Our client portfolio includes some big name construction tool suppliers and so to find yourself on a building site, 5 floors up in a concrete shell wearing steel toecap boots, hard hat and hi vis at 7.00am in the middle of winter is not unusual.
If you end up on a shoot up zipped up against the biting wind, it’s worth remembering that it’s often the hostile nature of the location that provides a real opportunity to create an outstanding shot. Unless the budget is substantial, a studio set is no match for real backgrounds, applications and ambience.
Dust, dirt and machinery are potentially catastrophic hazards for cameras and lighting, so pre planning locations is essential to keep everything working smoothly. Major advances in camera and lighting technology has meant that a reliance on mains power is a thing of the past. Many a production planner has been caught out by reassurance by site managers that there’s power on site only to discover that site power is 130v based and not the domestic 240v needed for camera kit. An expensive mistake to make.
For stills shooting, using flash on location requires a bit of discipline on the part of the person behind the camera, because like anything powered by batteries, there’s a finite amount of juice in the box, and if you’re going to shoot willy-nilly, you’re likely to sputter to a halt long before you hit your stride. Thankfully, increasingly sensitive camera chips provide outstanding performance in low light levels.
So far as video camera’s go, again low light levels are not the problem they once were and the advent of LED panel lights means far less backbreaking when it comes to moving the kit around on site. Planning every shot carefully keeps the crew models/actors safe – none more so than with follow shots where, particularly for camera operators and directors, concentration on the action can make he or she unware of potential site hazards as the action moves around.
Wherever the location, it’s important to get the best out of it and that means tight planning and professional camerawork to embrace the challenge head on.
How does the ad agency advertise themselves? Count one of your expertise as ‘branding’? How well does your brand perform? The web designers, and their website? …and so on. The challenges of internal creative projects can be more troublesome than you might presume. If you have any creative muscle in your agency, the prospect of a re-brand shouldn’t venture too much into unfamiliar terrain, yet the mountain to climb when it’s your own re-brand is treacherous.
Given the same task to carry out for one of your paying clients, you should be able to complete it with few issues. Now try it again for a non-paying client (yourselves). How do you schedule that work in? This is where a lot of businesses fall down, either taking months and maybe years to complete, or ultimately becoming a non-starter. It should be part of your business model from the beginning, and all successful creative agencies recognise the need to self-promote and apply their expertise to their own company. You need to distinguish between paid work, and an investment.
Next is the internal arguments you will all have on the creative execution. It’s inevitable. The passion you have for the work you do, is intensified when it is reflected back at you. Whereas usually, those involved in creative projects might be limited to a small number of people, suddenly everyone has a vested interest. Too many cooks spoil the broth, and too many creatives can’t make a final decision (the lesser known 2nd part to that famous saying). It’s understandable that there will probably be more people than necessary looking to get involved, logistically however, this becomes nothing more than a burden to the creative process. You need to draw the line between gaining everyone’s emotional buy-in, and everyone’s two cents.
Agency politics. So you’ve come to a decision your branding needs to change, but 10 years ago when it was conceived in its present form, those that were involved are still knocking around. You may be up against colleagues who don’t see the need to change the brand, or have fanciful eye towards the old style you once adopted.
“The secret of change is to focus all of your energy, not on fighting the old, but on building the new”. – Socrates
It all comes down to the attitude you adopt. Don’t paint over your existing artwork – instead, start again with a blank canvas.
There is a good argument to be had, that you’re better off enlisting the services of an outside agency to do the work for you. It certainly dulls the pains of any headaches gained by the above. Can you really trust someone else though? If there’s anything I’ve learned in my years in the creative industry; it’s that emotion often trumps logic, and you’ll end up climbing ‘mount re-brand’ yourself, rather than simply taking the ski lift.
Find us or get in touch.
St. Stephen’s House
15 De Montfort Street
Registered in England Company No. 053988600
VAT Registration No. 857 9353 72
Registered Office: Charnwood House, Harcourt Way, Meridian Business Park, Leicester, LE19 1WP