Fern Berresford is the best 5ft 2in blonde lady photographer from Nottingham in the business…

Fern not only knows her F-stops, she excels at the Bus Stop, Funky Chicken, Cha-Cha-Slide, Boogaloo…

…this isn’t working, is it?

So here’s the low-down on Fern that we’ve lifted from a recent publication and penned by one of the world’s foremost Art Directors.

Fern Berresford: Photographer by Mr.DAVE DYE:

He’s got great empathy with Chihuahuas.’ ‘She’s got a cool look, she replaces the blacks with 15% Cyan.’ ‘He’s done this amazing personal stuff where he’s documented the souls of unemployed T.V. Repair Men.’ It’s useful to have ‘a thing’. A handle. Being pigeonholed is great for a photographer. Need a shot of a skateboarding Chihuahua? Get me the Chihuahua guy on line 3! Frankly, Fern isn’t helping herself. She is all over the map. She’s bouncing from Early Victorian colour pastiches, to uber cool fashion portraits to cheesy trade magazine spoofs. The only positive I can find, is that they keep winning awards.

…thanks Dave, we couldn’t have put it better ourselves.

Wanna see more?

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We can’t believe we haven’t posted this yet.

It’s probably our favourite job of last year.

You’re looking at a direct mail poster campaign promoting a series of animated sketches – ‘Biscuits Wars’ by our talented friends at A Large Evil Corporation.

The short films are the brainchild of ace animator Seth Watkins and they feature everyone’s favourite tea-time biccies locked in mortal combat.

Let’s get ready to crumble!

Concept / Illustration –  Seth Watkins
Poster Design – M Denton Esq
Typography – Andy Dymock



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So Shots magazine contacted us and asked if I was interested in being interviewed for an article in their Cannes 150th Special Edition magazine.

Never being one for turning down the opportunity for a bit of PR I said I’d do it, but also being a bit cheeky I got my lovely assistant Catriona to enquire about the possibility of being on the front cover.

Shots very politely explained that the decision for the cover was made once they had their hands on all of the supplied images for the various articles.

Obviously I thought it would be nice to be in with a chance so I started to scribble out a few ideas that would be relatively quick and simple to shoot for next to no money.

It’s the way I tackle any creative problem insofar as I can’t seem to get my brain engaged without a black Pentel sign pen and an A4 Goldline layout pad in my mitts.

I churned out about a dozen scamps but one in particular made me chuckle. It was an idea to illustrate my thoughts on the changing role of creatives, and how they used to be seen as the geese that laid the golden eggs. But I thought they’d never go with that so I made sure there were a few ‘safe’ options in reserve.

Then I phoned my old mate the very talented photographer Sean de Sparengo and asked him if he was up for it… Thankfully he laughed even more than I did and there followed a fun day piss-ballin’ about in front of the camera at Pear Tree studios.

The only slightly uncomfortable moment came when Sean informed me that he’d have to put a reflector under my bare arse, which effectively was the same as squatting over a mirror.

…It certainly took a few man-hours of skilful manipulation by Oli Carver to retouch the ‘clench’ out of my buttocks.

Delighted with the end result I showed my Missus Anna… ‘You can’t give them that’ she said when she saw the bare arse shot.

I felt the same but I did what I normally do in those situations when I’m a bit nervous about a piece of creative work: I absolutely ignored myself and sent it to Shots anyway.

Apparently it split the vote a bit and they needed some time to think about it.

It’s funny how a few weeks later when I told Anna the news that Shots probably wouldn’t be running the photo on the cover she changed her tune and said ‘No! They’ve got to run it’.

It’s probably how clients feel when they’re shown a new piece of work. They really do need a bit of time to get comfortable with it.

It all seemed to work out OK in the end because my smiling face and rosy cheeks made the cover.

All in all one of the proudest moments of my career.


This one seemed to stand out a bit…

The Real Deal.

Photographer – Sean de Sparengo at MADAM and F62.
Retoucher – Oli Carver.

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Mark’s sell-out D&AD talk is now online HERE.

At nearly 80 minutes it’s about 5 times the length of the average TED talk SO IT MUST BE GOOD.

But don’t take our word for it, here’s what some of the biggest names in the business have said:

‘My daughter’s right, she said his talks are better than mine’ – Dave Trott, ECD at The Gate.

‘For me, the most inspirational person working in the business today.’ – Mark Fairbanks, ECD Havas Worldwide.

‘Amazing’ – Tony Kaye, (yes, The Tony Kaye).

‘From growing up in a two telly household to never giving up on something you believe in. Mark is open, honest, idiosyncratic and utterly compelling. Pure, wonderful Denton.’ – Justin Tindall, ECD at Leo Burnett London.

‘Life-affirming’ – Damon Collins, ECD at Joint.

‘Mark gave me £50 to say how brilliant his D&AD talk was, but honestly I’d have said it for free.’ – Paul Silburn, ECD Saatchi & Saatchi London.

‘The finest moustache outside of Mexico.’ – Sean Doyle, CD at TBWA London.

On top of all that D&AD have told us that it was not only one of their most over-subscribed lectures ever it was also their most popular live event on twitter: #publicityshy tweets were still coming into the feed 5 days after the event.

D&AD also said that the ‘Q&A was an extraordinary success. People generally don’t like Q&As and usually leave before it starts. Well, not this time’.

We could go on and tell you about all of the retweeted quotes like ’90%of insects are shit’ and ‘I said it but not in a Hitler sort of way’ but we don’t want to spoil the plot for you.

Have a watch. We’d love to know what you think.


B&W photograph: Julian Hanford.

Publicity Shy: Oliver Carver.

STOP PRESS! Here’s the Q&A that was too long for D&AD to fit on the end of ‘Publicity Shy‘ online.

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We’re looking forward to the British Arrows, probably because we’re nominated FIVE TIMES!

All for Aldi commercials directed by M Denton Esq and Miss Fern Berresford.

Of course we don’t know if we’ll be going home with a clutch of trophies or soggy hankies.

Either way, feel free to give us a cheer when the work comes up.

Aldi – Bit of England from Coy Communications on Vimeo.

Aldi Gin Credits:
Producer (agency) – Abby Moore, Creatives – Neil Lancaster, Dave Price (McCann Manchester), Director – Mark Denton, Producer (Coy!) – Sara Cummins.

Aldi – Champagne from Coy Communications on Vimeo.

Aldi Champagne Credits:
Producer (agency) – Lucy Moore & Abby Moore, Creatives – Neil Lancaster, Dave Price (McCann Manchester), Director – Fern Berresford, Producer (Coy!) – Sara Cummins.

Aldi – Mince Pies from Coy Communications on Vimeo.

Aldi Mince Pies Credits:
Producer (agency) – Lucy Moore, Creatives – Neil Lancaster, Dave Price (McCann Manchester), Director – Mark Denton, Producer (Coy!) – Sara Cummins.

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We’ve been so busy that we forgot to mention our recent silver award at Creative Circle.

It was in the highly prized image manipulation category. The image in question being a picture of Mark’s potato-like bonce shot by our very own Fern Berresford and enhanced with the all-important CG features by A Large Evil Corporation.

Final retouching was by the maestro herself, Miss Fern Berresford.

The judges obviously found it very ‘apeeling’.

Concept: Amber Osborne
Design / art direction: M Denton Esq
Photography: Miss Fern Berresford
Potato peelings: Saskia Laroque Rothstein-Longaretti / Catriona Wright
CG Manipulation: A Large Evil Corporation
Retouching: Fern Berresford

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I’m a big fan of Dave’s new blog.

He’s got loads of stories about some of the great advertising he’s created over the years.

The most impressive thing about it is that he goes into minute detail about the thinking behind the ideas.

It’s something I couldn’t do. If I ever have an idea it seems to fall out of the end of my pen… I don’t know where it comes from.

I just need to add a bit more detail to his current post about the 2004 D&AD annual…

Here’s a COY! blogpost from a couple of years ago that does just that (‘BIG PANTS’, below).

Dave seems to have forgotten about the bit where he rejected one of my earlier layouts with his head super-imposed onto a fat bloke’s body. I wonder why?

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I’m still up to my elbows sorting out my personal photos and unearthing stuff I’d long forgotten about.

I came across these the other day.  It’s me and the family sporting blow-up trousers.

The story is, Dave Dye was designing the 2004 D&AD annual and he’d opted for a record sleeve theme.

Of course he designed the cover and all the important bumpf at the front of the book and then he cleverly commissioned lots of well-known designers and art directors to come up with the jury pages for the different sections.

Every spread had to be in the form of the front and back of an album cover and each one had to feature a different genre.

He very flatteringly asked me to do one and I volunteered to do the Art Direction section.

I guessed that someone else would cover Blues, Rock ‘n’ Roll, Punk, Heavy Metal, Easy Listening, Classical, Country & Western, Reggae, Soul, Folk etc, etc, etc.

So in an effort to do something a bit more unexpected I thought I’d do the instructional disc you get free with a pair of inflatable exercise pants.

The front had to feature all of the members of the Art Direction jury, but as you might have guessed, once I presented them with the concept and a pair of custom made ‘Trousertone’ strides, a few of them became a bit camera shy.

So I recruited some happy helpers (my Missus and Step Daughter) plus a chubby model, a skinny model and a bodybuilder to act as body doubles.

…and naturally I volunteered myself as well.

The shoot was a right laugh and after a nifty bit of photo-shopping we had the required images.

The only hiccup came when I presented the finished design to Dave…He liked it all but one small detail…Could I stick his head on the Bodybuilder’s body and not on the fat bloke’s.


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Following Mark’s success as the executive producer of the hit play ‘Sex Cells’ he’s now turned his attention to Hollywood and the silver screen.

The fruits of his labours can be seen on ITV Movies in the form of the new Toyota idents.

The brief was to emulate the classic movie logos that you see at the start of films.

The hard bit was that from a legal point of view they couldn’t actually copy anything from the proper ones that we all know and love.

They seem to have worked out all right, we’re actually very pleased with them.

Mark’s having a lie down in his trailer now.

Director: Mark Denton Esq. Creative team – Gemma Phillips & Mark Slack. Post Production – MPC. Producer – Miss Sara Cummins. Design / Typography – Mark Denton Esq & Andy Dymock.

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We have been a bit busy recently with the production of our play ‘Sex Cells’ (tickets still available for the final week, book now to avoid disappointment).

That doesn’t mean we have neglected the day work, we’ve just been a bit remiss in letting the world know about it.

We’ve actually seen our most creatively prolific couple of months this year with Mark shooting adverts for Shelter, Aldi and Dominos, while Fern (Berresford) and Paul (Burch) have produced a big Fiat campaign.

On top of that Fern has not only shot 18 original photos for the ‘Sex Cells’ programme, but also a lovely collection of images for the kids clothing brand ‘Olive Loves Alfie’.

Not forgetting Ollie (Carver) who has photographed a collection of Mark D / Kate Henderson designed signs for DDB NY’s Lottery campaign.

We like being busy.

Fiat Credits: Photography – Fern Berresford and Paul Burch (cars), Typography – Kate Henderson, Creatives – Joanna Perry & Damon Troth (Krow).

OlivelovesAlfie Credits: Photography – Fern Berresford.

NY Lottery Credits: Photography and retouching – Oliver Carver, Typography – Kate Henderson, Creative – Carlos Wigle (DDB NY), Design / Art Direction – Mark Denton.

Aldi Commercial Credits: Producer – Abby Moore, Creatives – Neil Lancaster, Dave Price (McCann Manchester), Direction – Mark Denton.

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