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COMMUNICATION ARTS ADVERTISING ANNUAL 55

Volume Inc. Marcus Smith Code and Theory Tyler Jacobson Exhibit

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NOVEMBER/DECEMBER 2014 VOLUME 56, NUMBER 5

COMMUNICATION ARTS 42

58

FEATURES

66

42 Volume Inc.

COVER

A homage to CA’s first cover, from 1959.

by Jessica Carew Kraft From storefronts to art institutions, this San Francisco design firm hooks audiences with an unexpected twist, and the response speaks volumes.

50 Marcus Smith

by Dzana Tsomondo Chicago’s young star of sports photography scores major-league clients with his authentic, rookie approach.

58 Code and Theory

by Sue Apfelbaum With innovative digital makeovers for the Los Angeles Times, Vogue and others, this interactive branding agency sets a higher bar for strategyled site design.

Source images (clockwise from top left): consumer magazine ad for Jaguar Canada, p. 86; consumer newspaper ad for Procter & Gamble, Bounce, p. 102; consumer newspaper ad for Harry’s, p. 100; consumer magazine ad for Staedtler, p. 88.

66 Tyler Jacobson

by Claire Sykes In the sleepy suburb of Olympia, Washington, a fantasy illustrator paints the menacing monsters and men of his imagination with frightening realism.

74 Exhibit

by Jean A. Coyne The latest and best in visual communication from both here and abroad.

50

ADVERTISING ANNUAL 82 94 104 126 138 147 151 158 164 168 171

Consumer Magazine Ads Consumer Newspaper Ads Posters Digital Advertising Miscellaneous Non-Traditional Advertising Integrated Campaigns Public Service Public Service Television Radio Commercials Television Commercials

FRESH Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Robin Alyse Doyle

200

Manasteriotti∞Marić This concept-driven Croatian design duo aspires to create timeless identities.

202

Billy Kidd A self-taught photographer carries his love for the stark Southwest to Brooklyn.

204

Juliana Wang A British illustrator unearths the artistic techniques of her Chinese ancestors.

COLUMNS

Associate Editor Rebecca Huval Editor At Large Anne Telford Art Director/Designer Matthew Korbel-Bowers Production Director Scott Perry

18

Advertising Agency veteran Ernie Schenck puts out an industrywide RFP for the “Mother of All Briefs.”

28

Voices Must we always give away our best thinking for free?

Resistance is futile, says Agency59 CCO Brian Howlett.

21

Design Culture When it comes to artistic inspiration, Wendy Richmond takes the conversation outside.

30

Business Artists and designers often fail as entrepreneurs. Lisa Hassell discovers why we should do it anyway.

24

Creativity Sam McMillan looks to Pinterest, Facebook and Airbnb to see how creatives can fearlessly drive company culture.

34

Education Behind every successful creative director stands a wise agency mentor. Stephanie Orma culls the best advice from both.

38

Insights A Q&A with comedic ad writer Kelly Diaz.

Associate Production Director Ron Niewald Production Associate Stacey Meisner Content Traffic Coordinator Jessica Reichard Production Assistant/Customer Service Representative Khader Yanni Competition Coordinator Lauren Coyne Software Engineers Jiping Hu Srividhya Gopalakrishnan Technology Administrator Michael Hoyt Advertising Director Valerie Pippin Circulation Director Perry Fotos

DEPARTMENTS 10 16 40 206

Editor’s Column Contributors Web Watch Book Reviews

208 210 214 216

Resources Index to Advertising Annual 55 Directory Overheard

Accounting Sally Nettleton Contributing Editors Sam McMillan Wendy Richmond Ernie Schenck Founder Richard Coyne (1926–1990)

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EDITOR’S COLUMN

Patrick Coyne

W

e received 3,784 entries to this year’s Advertising Competition. Although we saw fewer television commercial entries, the number of video-based entries we received across all categories actually exceeded the previous year—driven primarily by an increase in online videos.

“As with all ad competitions now, there was far more conceptual quality in moving film—[showcasing] the rich storytelling aspects of our business,” juror Bill Oakley said.

“Despite the proliferation of platforms and fragmentation of messaging, at the end of the day, it’s still clearly about storytelling,” juror Jim Elliott said. “That’s comforting, because it proves that the art of what we do is still about great ideas married to an entertaining, engaging story.”

stories,” juror Joe Baratelli said. “The best ideas stood out because they were simple and easy to understand.”

“The social and mobile entries were surprisingly absent of quality,” said Oakley. “That is a problem for our entire business, frankly. As Lee Clow has said, ‘Technologists are still dominating it.’ We need artists to bring a far greater aesthetic to it all.”

I asked the jurors: how is advertising adapting to the changes in media and society?

“Attention spans continue to shrink,” juror Molly Scanlon said. “Advertisers are feeling the squeeze to get their messages across faster and faster. We’ll have to continue to find creative ways to quickly engage an audience that craves instant information.”

When observing the variety of digital media entries, juror Dave Damman said, “The promise that it can be anything and anywhere has finally come true, which means a clean, simple, relevant, engaging idea is more important than ever.”

“A huge development is the move to produce and create content in-house, whether it’s a brand like Apple or agencies like us and others,” said Alexander. “Clients are demanding that we work faster and more efficiently. The key? Not losing the craftsmanship—what makes ideas special.”

Despite the increased use of new media channels, juror Addie Gillespie was surprised at the dearth of innovative solutions. “There were fewer executions that used media in unique ways than I was expecting,” she said. “Even the online videos seemed to stay close to the TV ad or documentary world, barring a few exceptions.”

“It seems like more and more brands are moving toward reality— documentary-style online videos, promotions and activations that help people, campaigns that showcase real-life scenarios,” Gillespie said. “It’s blurring the lines between advertising and reality, and it will be interesting to see where that goes.”

Other disappointments with the entries?

“More and more, it seems, advertising is helping to solve big problems in the world,” said Elliott. “Societal problems, geo-political problems, environmental problems, global health problems, you name it. As sustainability continues to grow in importance for brands, this trend will only continue.”

“Using technology for the sake of using technology,” juror Joe Alexander said. “We are all guilty of it. There seems to be a proliferation of ideas that aren’t really ideas, but just tactics for using some sort of technology, app, complicated installation, etc., just to do it. As a jury, we see right through stuff like that.”

Photographs by Steve Castillo

“Complexity. Complex messaging, complex layouts and complex

“It will become increasingly more important to create ideas that become culturally relevant,” Baratelli said. “This is the reason we are seeing a movement of brands toward more cause-oriented work. This will continue, and the use

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Advertising Annual 2014

EDITOR’S COLUMN

Baratelli

Damman

Gillespie

Oakley

of social media to foster and target those groups will only become a bigger part of advertising in the future.”

As in previous years, we employed a two-step jurying system: screening and finals. For screening, the jurors worked in teams of three (executive editor Jean Coyne and I acted as the eighth and ninth screening jurors), each screening a third of the television, print and projected entries in one of three halls equipped with broadcast equipment and six rows of tables for print. Print entries were spread out on the tables by category, and each juror reviewed the entries independently. Any juror could advance an entry into the next round by handing it to a member of our staff. Television, radio, integrated and digital entries were screened by checking an “in” or “out” box on scoring sheets.

After all the entries were screened, we combined the selections from the three teams for finals. During the finals, all seven judges worked as a single team. In one hall, print entries were spread out on tables by category. Two paper cups, one white and one red, with slots cut in the bottom, were placed upside down to the right of each entry, white cups for “in” votes, red cups for “out.” Each juror voted by placing a different colored ceramic tile into the appropriate cup. A check of the tile colors ensured that every judge voted on every single piece.

After all the jurors were finished voting on the print setup, they moved to another hall to view projects with digital components on a projection screen. Again, voting was done by each juror checking the “in” or “out” column on the scoring sheets.

Judges were not permitted to vote on projects in which they were directly involved. When judges’ pieces were in the finals, editor Jean Coyne or I voted in their stead.

A grateful thank-you to our jurors for their conscientious efforts in selecting our 55th annual advertising exhibition.

Joe Alexander is the chief creative officer of The Martin Agency in Richmond, Virginia. His copywriting and creative leadership have produced acclaimed work for brands in almost every category and medium. In 2013, Clouds Over Cuba, a striking interactive documentary for the JFK Presidential Library that merges history, film and mobile, won eleven Cannes Lions and an Emmy. Alexander’s best work to date? Not even close. His three smart, gracious and talented daughters.

Joe Baratelli joined Santa Monica, California-based RPA in 1986, the year it was founded, as an art director. In 2012, he became the 12

Advertising Annual 2014

Elliott

Scanlon

Alexander

agency’s chief creative officer. He’s been responsible for many iconic campaigns, but his biggest impact on the industry has undoubtedly been in his work for Honda over the past 25 years, resulting in huge growth for the client and numerous awards, including the Art Directors Club, Cannes, CLIOs, Communication Arts and the One Show.

Dave Damman is chief creative officer of Carmichael Lynch in Minneapolis, Minnesota. Since beginning his career 20 years ago at New York’s Saatchi & Saatchi, Damman has held the creative director title at numerous top agencies, including the creative department at Fallon Worldwide. Damman’s work has been recognized in the United States and internationally by all of the most respected creative award competitions.

Jim Elliott joined Y&R, New York, as chief creative officer in 2011.

Prior to Y&R, Elliott served as group creative director at Goodby, Silverstein & Partners. Elliott’s awards include: ADDY, AICP, Andy’s, the Art Directors Club, Cannes, CLIO, D&AD, Effie, Kelly, LIA, the One Show, Radio Mercury, the Web Marketing Association and the Yahoo!

Big Idea Chair. Elliott currently resides in Manhattan with his wife, Sharlyn, their Labrador retriever, Teej, and their son, Kayden James.

Addie Gillespie is co-creative director of DARE in Vancouver, Canada.

Gillespie has been one of the top creatives in Canada for the past seven years, winning awards in all major national and international shows, including Cannes, Communication Arts, D&AD, LIA, the One Show, the One Show Interactive and Design, and the Webby Awards. As co-creative director at DARE, Gillespie continues to prove you don’t need to be in a big market to do great work.

Bill Oakley is chief creative officer of TM Advertising in Dallas, Texas.

In addition to all the local office’s accounts, he’s been worldwide creative director for American Airlines and ExxonMobil, overseeing work from 20 McCann Worldgroup offices. He has been honored by Cannes, Communication Arts, D&AD, Effie, LIA, the Nikkei Advertising Grand Prix (Japan) and the One Show. Oakley commutes from Salt Lake City, Utah, and is obsessed with Liverpool and the UEFA Champions League.

Molly Scanlon is a creative director at Chicago-based TRIS3CT, an independent agency specializing in creating unique brand experiences that integrate advertising, retail and digital. Before joining TRIS3CT in 2010, Scanlon was a writer at Leo Burnett/Arc Worldwide, where she worked on campaigns for United Airlines, Harrah’s and Norton AntiVirus. Over the years, she’s had the privilege of working with creative teams that have received numerous awards, including a Communication Arts Award of Excellence in 2013. ca

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CONTRIBUTORS Features Sue Apfelbaum (sueapfelbaum.contently .com) is a writer, an editor and a content strategist based in New York. A former editorial director for AIGA and editor of RES magazine, she is the co-author of Designing the Editorial Experience, in collaboration with designer Juliette Cezzar. In her profile of Code and Theory for this issue, Apfelbaum takes us inside an interactive agency at the leading edge of digital editorial design.

Jessica Carew Kraft (writingkraft.com) is an independent print journalist based in San Francisco, specializing in cultural trends and sustainability. Her work has appeared in the New York Times, the Christian Science Monitor, Grist magazine, ARTnews and other publications. Originally from the Midwest, Kraft trained as an anthropologist at Swarthmore College and Yale University, then worked as an art critic, graphic designer and adjunct professor. In this issue, she profiles San Francisco’s socially minded, multidisciplinary design studio Volume Inc. Claire Sykes (sykeswrites.com) is a freelance writer in Portland, Oregon. She is a member of the exhibition committee for Blue Sky Gallery, an internationally esteemed photography gallery, and is a Roving Reviewer for the biennial portfolioreview event Photolucida, which takes place in Portland. In this issue, Sykes paints a vivid portrait of the monsters lurking in the imagination of Olympia, Washington– based fantasy illustrator Tyler Jacobson.

Dzana Tsomondo (dzanatsomondo@gmail .com) is a freelance writer living and working in New York City. Passionate about

music, art and politics, his work has appeared in publications from Photo District News to Cool’eh Magazine. In this issue, Tsomondo takes a time-out in Chicago to get the score from Marcus Smith, a young sports photographer at the top of his game.

Travel + Leisure, she’s creating humorous editorial illustrations for her greeting card and art line. For this issue’s Education column, she interviewed dozens of agency creatives to cull the most valuable lessons learned from their favorite mentors.

Columns

Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator whose work explores public privacy, personal technology and creativity.

Richmond has taught at Harvard University, the International Center of Photography and the Rhode Island School of Design, and she serves on the BRIC Artists Advisory Council and the MacDowell Fellows Executive Committee. In this issue’s Design Culture column, Richmond invites us to listen in on her internal dialogues with celebrated artists and authors.

Lisa Hassell makes her living in Birmingham, United Kingdom, as a curator, an artist and a design writer. She is the founder and director of Inkygoodness (inkygoodness.com), which hosts events and exhibitions to showcase emerging illustrators. For this issue’s Business column, Hassell finds out what’s driving creatives to cross the great divide between providing services and selling goods.

Brian Howlett (bhowlett@agency59.com) is a principal and chief creative officer at Agency59 in Toronto, Ontario, and is a past president of the Advertising & Design Club of Canada. Howlett explains why ad creatives are suckers for the pitch in this issue’s Voices column.

Sam McMillan (wordstrong.com) is a San Francisco Bay Area–based writer, teacher and producer of interactive multimedia projects for a number of local production houses and a regular contributor to CA’s Web Watch and Resources. In this issue, McMillan also brings culture-building tactics from the likes of Airbnb, Facebook and Pinterest to our Creativity column.

Stephanie Orma (ormadesign.com) is a San Francisco–based writer, illustrator and cartoonist. When she’s not writing copy for top creative firms or penning articles for publications like HOW, Entrepreneur and

Ernie Schenck (ernieschenckcreative. prosite.com) is a freelance writer, a creative director and a regular contributor to CA’s Advertising column. An Emmy finalist, a three-time Kelley nominee and a perennial award winner at the One Show, the CLIOs, the D&ADs, the Emmys and Cannes, Schenck has worked on campaigns for some of the most prestigious brands in the world.

Schenck reviews two books in this issue and, in the Advertising column, he solicits industry responses to “The Mother of All Briefs.”

Book Reviews Peter Wise (ideaswise.com) is an awardwinning writer from London. He’s worked for agencies such as Ogilvy & Mather, VCCP and Saatchi & Saatchi, and writes ads, website copy and much more for clients across six continents.

Pictured contributors wrote features and columns: Sue Apfelbaum, Jessica Carew Kraft, Claire Sykes, Dzana Tsomondo, Lisa Hassell, Brian Howlett, Sam McMillan, Stephanie Orma, Wendy Richmond and Ernie Schenck.

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Advertising Annual 2014

ADVERTISING

Ernie Schenck

The Mother of All Briefs “And when you look long into the abyss, the abyss also looks into you.”

—Friedrich Nietzsche

I

magine that you go to work tomorrow morning and you get an assignment. But the assignment is unlike any assignment you or anyone has ever gotten before. Not Bernbach. Not Gossage. Not Clow or Droga or Hughes or Goodby. Because this brief isn’t for a beer or a running shoe or an insurance company. You have zero chance of winning a Lion or a Pencil or of seeing your work in this very issue of CA. There will be no FWA site of the month, or

is in the eye of an awards show judge. But even the greatest campaigns can only go so far. Yes, they might get seen. Yes, they shock us and disgust us and put the fear of God in us, but in the end, do they change anything? “The brute force of intellect and creativity our profession offers the world is evident,” Dr. Morrison says. “But if we’re using it only for the consumption cycle, then what a mess we’re causing with those great skills.”

In the days and weeks following 9/11, like everyone else, I wondered why our government hadn’t seen it coming. I live two miles from the U.S. Naval War College in Newport, Rhode Island. There are brilliant strategic minds over there. Surely, they could have foreseen a scenario where an airliner would be hijacked by a group of religious zealots and turned into a missile. After all, thriller novelists think up stuff like this all the time. All I could think was, “Why isn’t somebody like Tom Clancy or Brad Thor working with the government to imagine doomsday scenarios like 9/11?” In Debt of Honor, published in 1994, Clancy conceived of a 747 being flown into the Capitol. You do the math.

For such a creative industry, we’re awfully small thinkers. We confine our talents to selling soft drinks and hamburgers, cars and life insurance...

But we could be doing so much more. site of the year or site of the anything. And yet, if you crack this, you will forever redefine what it means to have a big idea.

Deborah Morrison is the chambers distinguished professor of advertising at the University of Oregon’s School of Journalism and Communication. Recently, she wrote a piece for Co.Create in which she calls on advertising people to transcend the consumption cycle and train the full might of their creative firepower on what she calls the great and wicked issues of our day. You know the ones: Global warming. Hunger. Energy. Gun violence. Mass extinctions.

Overpopulation.

As I write this, Dr. Morrison and nine advertising students are in Alaska studying climate change. They’re learning how to find the stories in the science—stories that most of us would never see, and not because they aren’t compelling. On the contrary, they’re beyond compelling, the stuff of nightmares without end. The stories are there all right, but they’re mute and colorless and shapeless, entombed beneath a mountain range of data. Not that there’s anything wrong with that. Data can do many things. It can prove theorems, send rockets to the stars and cure diseases of every stripe. What it can’t do is light a fire under the collective ass of society. Data can’t do that, but stories and ideas can.

Dr. Morrison is the first to admit that advertising people are very good at creating awareness, even if, at times, the only awareness 18

Advertising Annual 2014

For such a creative industry, we’re awfully small thinkers. We confine our talents to selling soft drinks and hamburgers, cars and life insurance, movies and video games and smartphones.

When we do it well, it can be brilliant and inspired and, at times, jaw-dropping. But we could be doing so much more. So why aren’t we?

“John Hegarty recently stated he thought the industry had lost its courage,” says Dr. Morrison. “He was talking about the big idea and an industry fetishism with digital. I’d like to suggest that we also need to find the creative courage to become the industry that solves the most pressing problems of our times.”

We’d better find that courage soon. How many young and brilliant creatives might we lose to other transformative industries where their powers of innovation can truly make a difference, not just at Cannes, but across the planet? And that would be a shame.

This is an idea business. It’s always been an idea business. The question now is, can the same prodigious talent that so often graces these pages rise to a new challenge? Dr. Morrison thinks it can. I do, too. ca

DESIGN CULTURE

Wendy Richmond

Outside Conversations

T

he Metropolitan Museum of Art in New York houses reconstructed frescoes from the ancient Roman villa at Boscoreale, an area about a mile north of Pompeii. When I go to the Met, I tend to meander, and last month when I happened to walk by the frescoes, I was struck by their familiarity, even though I had never seen them before. Then it hit me: their edges reminded me of a Mark Rothko painting. I searched “Rothko” and “Boscoreale” on my phone and read that on his frequent visits to the Met, Rothko had been deeply moved by the wall paintings of Boscoreale.

That night, I went to bed very early. I fell asleep within seconds of turning out the light. I woke up in the middle of the night, confused about where I was. Suddenly I recollected, in surprising detail, the few pages I had read of Remembrance of Things Past. Before falling back to sleep, I promised myself I would give it another try.

What elicits a bond with a work of art? My experience with Rothko was the opposite of what happened with Proust. I already knew and loved Rothko’s work and was eager to go further. Proust, on the other hand, was intimidating; I had no connection, and my curiosity was not based on a desire, but rather a “should.”

However, in both cases, an unexpected conversation occurred—not with the work itself, but away from it. It was that outside conversation that called me back to the work.

I felt that I had entered into an ongoing dialogue between an artist and another work of art… like the best conversations, it arose out of serendipity, interest and personal connection.

It had been a while since I had seen the Rothko paintings at the Met, and I was inspired to visit them, not only to reconnect, but also to connect anew. I went to the galleries of modern and contemporary art and found his No. 21, an abstract painting of deep red with slate blue underpainting. Standing before it, my feelings for Rothko’s work were intensified. Because I had made a connection between Rothko and the villa’s frescoes, I felt that I had entered into an ongoing dialogue between an artist and another work of art. It was an unexpected conversation, and like the best conversations, it arose out of serendipity, interest and personal connection.

As I write this column, I’m staying at a friend’s cottage in Maine.

The bookshelves hold an eclectic assortment left by previous guests and, on my first day here, I surveyed the spines and pulled out a fat, musty book with a faded cover: Remembrance of Things Past, Volume I, by Marcel Proust.

I read the first few sentences. “For a long time, I used to go to bed early. Sometimes, when I had put out my candle, my eyes would close so quickly that I had not even time to say to myself: ‘I’m falling asleep.’” Over the next six pages, the narrator describes in great detail the experience of the night, including musings about dreams, memories and feelings: “…when I awoke in the middle of the night, not knowing where I was, I could not even be sure at first who I was.” The sentences were dense, long and difficult to read, and after about 20 pages, I put the book back on the shelf.

My next morning in Maine, I went into town and happened to pass by the library. The previous night was still fresh in my mind, and on a whim, I decided to look for a biography of Proust. I found a slim one by Edmund White, skimmed through it and came upon a reference to Proust’s “The Confession of a Young Girl.” In the story, the fourteen-year-old character repeatedly calls her mother back to her bedside to say goodnight, inventing ever-new pretexts, such as the necessity to turn her hot pillow over. I stopped short. Years ago, I read a story by David Foster Wallace in which he described how his mother used to change the pillowcases whenever he was sick in bed so that they were clean and cool. He referred to “the feeling of turning a pillow over to the cool side.” Published posthumously after Wallace’s suicide, that story comes to mind almost every hot summer night when I turn my own pillow over to its cool side. As I left the library, I wondered if Wallace had read that story by Proust, and I was struck by how an unexpected conversation among White, Proust, Wallace and myself had deepened my connection to works of art—in this case, to the writing of both Proust and Wallace.

There are abundant resources that can intensify one’s experience of a work of art, especially if the work is well known. I’m the first to sign up for a lecture or a docent tour or to listen to an audio guide that increases my knowledge. But for me, it is the conversations that occur outside of the work that bring me back to it. ca © 2014 W. Richmond

Communication Arts | commarts.com

21

PPA’s Business Basics Workshop has completely changed how I run my business. • Abbie Welch

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CREATIVITY INSIGHTS

Sam McMillan

Airbnb makes it personal with customer stories and hand-drawn name tags at worldwide employee meetings.

Where Creatives Work, Culture is King Strong brands are built internally. Pinterest, Facebook and Airbnb show us how it’s done.

L

et’s take a moment to define culture. Anthropologists look at culture as a system of behaviors, values and shared beliefs.

These learned behaviors provide, in the words of anthropologist Clyde Kluckhohn, author of Mirror for Man, “a set of techniques for adjusting to the external environment.” Ethnographers define culture as the common habits, customs and traditions that connect people together.

Understand why culture matters When it comes to producing great work within agencies, design firms and production houses, culture comes first. Work is an artifact of culture. An outcome. In the same way that weather makes snowflakes, culture makes work. It’s not the other way around.

So how do companies create culture? More important, how do companies transmit culture? Turns out that culture is viral. It is transmitted the same way influenza spreads: by infection. Culture is passed from one person who understands the core values of the company to another. Done right, viral transmission means employee number 37 knows what the core values are. And so do employees 370 and 3700.

“Get the culture right, [and] most of the other stuff—like delivering great customer service or building an enduring brand and business— will happen naturally.” That’s not the philosophy of a starry-eyed kid working in a San Francisco startup. It’s the true north of Tony Hsieh, the guy who sold Zappos to Amazon for $1.2 billion.

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Advertising Annual 2014

Put the cult in culture The transmission of culture is an exercise in collaborative mythmaking. In other words, companies must create a cult so cool that everyone wants to join it.

And who will do this? You. If you don’t take responsibility for creating your own culture at work, you’re going to leave culture up to the well-meaning folks in human resources. Before you know it, you’ll be doing trust exercises, falling backward, eyes shut, into the dubious embrace of the vice president of sales. Do nothing and culture will curdle. The best people leave, taking their ambitions, portfolios and bad memories with them. The complacent stay.

Here are some guidelines that can ensure you do the best work of your life at a place you’ll be glad to come to every day.

Recognize that culture starts with you To transmit culture virally within your agency, you’ll have to become patient zero. But in a good way. Start with your own work. Pin it up on your cubicle or office wall. Cover the space. Be loud and proud. You’ll be able to use it to spark a conversation about what’s working and what’s not. Then encourage others to do the same.

Stake a claim on a public office wall. Create a hall of fame for the best work your agency is doing. If you and your colleagues are not doing great work, then pin up examples of worthy work done by

CREATIVITY

Each new hire at Facebook receives The Book of HACK, a collection of stories and images reflecting the company culture—one of many books and posters born from employees’ creative experimentation at the Facebook Analog Research Laboratory. Risograph printers, typewriters and screen-printing tools are offered there, and a monthly drawing meet-up called the Draw Club has staffers getting dirty with charcoal and newsprint.

other firms. Set the bar high; choose great examples. Tell your team, “This is what we should be doing” and explain why.

If that doesn’t work, try the wall of shame. Pin up the worst examples of ads. The principle here is that manure makes great fertilizer. One in-house design agency used to post boneheaded ads under the banner: “Every time you make a bad ad, a unicorn dies.” Do this until someone tells you to stop.

Start with your company’s values Champion the mission. Be a host. Every frame matters. These are just three of the six company values at Airbnb, according to its art director Andrew Schapiro. “Every frame matters” is another way of saying sweat the details. Drawn from moviemaking, “every frame matters” is taken literally at Airbnb. When CEO Brian Chesky learned that Snow White was the first film to be storyboarded frame-by-frame, he went out and hired a former Pixar storyboard artist. The result is a journey through the Airbnb host and guest customer experience, one touch point at a time. Instead of a flow chart buried in a PowerPoint presentation, Airbnb-ers get a whimsical journey presented in framed storyboards. Displayed prominently in the Airbnb headquarters, the storyboards ensure that every employee is on the same page.

Tell your story: take over the station What’s one of the first things that happens during a coup?

Revolutionaries take over the TV station. By controlling the means 26

Advertising Annual 2014

of communication as well as the content, designers can control the debate. And that’s a huge step toward influencing your company’s culture.

One of the goals of the internal Airbnb design team, Schapiro says, is to “tell the story of the brand to the employees.” At Airbnb that means telling the story of its hosts. Along one of the entryways to its corporate offices, where keyless doorways are emblazoned with “Champion the Mission,” a gallery of work by photographer Todd Selby documents the host experience in dozens of photos and drawings. Selby showed up as a guest in five Airbnb locations around the world, then did a deep dive into host culture. Selby followed his hosts to work, met their friends, drank in local bars— and shot it all. Other walls in the Airbnb office boast monumental four- by six-foot portraits of hosts along with captions that tell their personal story. “It’s about the experience of belonging,” Schapiro says. Quoting Maslow’s hierarchy of needs, Schapiro rattles off the needs for shelter, community and self-worth.

Ultimately, he says, “the Airbnb culture comes down to making a human connection.”

Live your values, then display them As Pinterest brand manager, Everett Katigbak ensures that the core values and the narrative of the Pinterest brand are understood, adopted and spread by employees to its end users. The number one brand value, Katigbak says, is “Put pinners first.” One result is a two-story-tall mosaic that employees created at the center of

the cafeteria. Composed of tiny headshots of individual Pinterest users, the mosaic isn’t just a cool piece of corporate art. Turns out the mosaic functions like a fundraising thermometer, depicting Pinterest’s rising growth rate in user-centric terms. As the mosaic works its way higher up the cafeteria wall, it’s a powerful reminder that Pinterest’s growth depends on its core value.

Cross-train for skills When your design team cross-trains for skills, you’ll not only share skills, you’ll build camaraderie and spread culture. Designers, writers, art directors and marketers are creative to their cores. That’s why they are called creatives. To transmit that creative culture companywide, start a weekly studio night session. Pinterest’s after-hours sessions have included bookbinding, fiction writing and code nights in which attendees learn to code an app in a night. Studio nights can be professional cross-training sessions, where copywriters learn Photoshop and designers are taught to code. But culture can really grow when creatives share their passions and teach their hobbies. And everyone in the company should be invited to join.

Set up a playground with a purpose The Facebook Analog Research Laboratory is an in-house art and design studio boasting silkscreen stations, a dark room, wood type, a proof press, a sign-painting studio, a button maker and even two manual typewriters. It’s a playground with a purpose: to inspire creativity and amplify the Facebook culture. The lab provides the tools, the space to use them and classes that enable creative culture. Its silkscreened posters, created by lab staff and workshop participants, emblazon walls throughout the Facebook campus with the messages “Eventually everything connects,” “Nothing at Facebook is somebody else’s problem” and “Empathy.

Have some.”

immersed in Design Corps—the design team’s specialized course that teaches new hires about the tools, teams and methodologies of working within the design team at Facebook. “Design Corps is an example of how the culture here has reacted to scale,” says Belonax. “The program was started by designers because the team was getting so big that we needed to make sure that everyone was up to speed on our latest processes and software.”

Create opportunities for impact The Facebook Analog Research Lab doesn’t create Facebook culture.

Through classes, lecture series and artists-in-residence series, the lab amplifies and transmits it.

Case in point: the “What would you do if you weren’t afraid?” poster—in 2011, it inspired Facebook employees to write their own answers to the question directly on the poster. The concept went viral when it got a shout-out from Sheryl Sandberg, Facebook’s chief operating officer, in her recent commencement speech to graduates of Barnard College. That slogan is now part of the culture at large, in the form of a movement designed to empower women, sponsored by Sandberg’s Lean In organization.

So what would you do if you weren’t afraid? It’s time to live out your own poster. Your company culture depends on it. ca

Make your own employee handbook Human resources has theirs. You should make yours. That’s what the team at the Facebook Analog Research Lab did. To commemorate one billion people using Facebook, the lab created The Book of HACK. The 100-page-plus “little red book” perfectly encapsulates the Facebook culture. Chockablock with statements like “Code wins arguments” and “Stay focused and keep shipping,” the book is a celebration of the hacker way.

With its exposed Smythe binding, The Book of HACK exemplifies an attitude that “where nothing is finished, nothing is over,” says Tim Belonax, the lab’s principal designer. The book is such an effective transmission of Facebook culture that when CEO Mark Zuckerberg saw it, he asked that it be given to every new hire.

Develop your own onboarding strategy Don’t rely on human resource’s one-day onboarding process to convey your internal culture. Take a tip from Facebook and set up your own Design Officers’ Training Corps. At Facebook, incoming designers, researchers and content strategists spend two weeks Communication Arts | commarts.com

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VOICES

Brian Howlett

Why Do We Pitch?

(Hint: it has nothing to do with money.)

O

ur industry is constantly beating itself up for being unable to resist submitting pitches. There is a loud, ongoing debate about why we keep giving away our best thinking for free. Bankers don’t do it. Lawyers don’t do it. Why do we?

Clients have responded to our complaints with the “pay-to-play” pitch—as if $10,000 is going to do anything to mitigate the impact of spending the hundreds of hours it takes to develop a 360-degree best-in-class solution to their stated problem. (Still, we do cash the check.)

The fact remains that no other industry gives it away like we do.

And we are likely cheapening our work by doing so. But to focus on the money is to miss the point entirely—we aren’t like bankers or lawyers or architects or engineers. The bottom line is, we just can’t help ourselves. When an RFP appears, it’s like a fly in the room. We can huff and puff all we want about having to come up with a killer idea for free; we can try our best to ignore the document. But still, the fly buzzes.

Soon enough, we give in. We flip through the 70 pages, straight to the ask. Like skimming the first 20 chapters of a detective novel to find the whodunit, we go right for the challenge. Often, the language is coy: “No creative necessary. Please, no storyboards or layouts. Just your first thoughts on your overall approach.”

Yeah, right.

So we can complain about how unfair it is, but the RFP doesn’t go away. It drills into our brain, like the worm dropped into Chekov’s ear in Star Trek II: The Wrath of Khan. It doesn’t matter what it is—a car whose sales need a tune-up, a soft drink whose popularity has gone flat—we turn the problem around and around in our minds. We don’t even like ourselves for doing it, but it’s just the way we’re wired.

So anyone who thinks it’s the money that gets an agency excited probably shouldn’t be in our business in the first place. Sure, the bean counters in New York will drive right to the bottom line in the RFP and dispassionately stay there until they have figured out exactly how much revenue this client might bring. That’s their job. But for the rest of us, we just love to solve problems, and as it turns out, new problems are the best problems of all. Whether it’s $50 million or $10 million or $1 million, it’s not the dollars that get our synapses firing.

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So sure enough, we find ourselves back in the boardroom, divvying up the RFP, figuring out the request. Solving the problem.

And then there’s the second part of the process, which is equally charged and addictive: the presentation. No matter how rewarding a long relationship with a current client can be, there is nothing quite like having a chance to show your agency’s finest thinking to someone new. It’s simply a validation for the team. We love how we think, we love who we are as an agency and we want others to love us, too.

And of course, every one of us believes we’re going to win, whatever the industry prognosticators may be saying. That, too, is just the way we’re wired: hopelessly, ridiculously optimistic and just as hopelessly impressed with our own abilities. The day of the pitch is always electric. It’s like bringing your shiny prize car out of the garage on the first day of spring—your presentation is waxed and buffed to perfection.

It goes without saying that all of this springs from a deep-seated insecurity that other industries would never understand and, frankly, would likely find appalling. But insecurity is actually quite valuable in an applied art like ours. It keeps us pushing for better solutions. In spite of all the plumbing that technologists have introduced to the marketing mix, the real innovation still lies in creating the right story and finding the right platform on which to share it.

And finally, as any creative person will tell you, there’s nothing like having an audience. Think about it. Why does somebody who once played music for thousands of fans still happily play, years later, for just a couple of hundred? Sharing their work with an audience is part of what they do. And it’s the same for us. We are driven to find new stories to tell, and whatever the outcome, we are at our most alive the moment we stand up, face our audience and share that story for the very first time. ca Brian Howlett is chief creative officer (and chief insecurity officer) at Agency59, Toronto. You can send all 70 pages of your RFP to bhowlett@agency59.ca.

Creative industry insiders: Add your voice! Contribute a well-written opinion piece on emerging trends, ethical issues or what it takes to thrive in the fields of typography, photography, illustration, advertising and design. See commarts.com/info/writers for details.

BUSINESS

Lisa Hassell

From Maker to Seller

Creatives driven to entrepreneurship earn surprising returns on their investment.

Branding firm Alfalfa Studio’s designer-founder Rafael Esquer (left) manifested a rewarding outlet for creative experimentation when he launched Alfafa New York, an online boutique selling posters, totes and T-shirts designed in-house.

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nyone who spends a lot of time doing creative work for clients has probably passed a wistful moment or two dreaming about making something completely their own.

Such entrepreneurial visions might have once seemed far-fetched, but now that startup costs can be crowdsourced on Kickstarter and products can be sold anywhere in the world through online storefronts like Etsy and Apple’s App Store, bringing a product to market requires little more than an Internet connection and a good idea. So it should come as no surprise that an increasing number of creative agencies are launching independent products alongside their client services.

Esquer’s story is ultimately a tale of success, but there are inevitably a lot of entrepreneurial ventures that fail. David Catalano, co-founder and CEO of Virginia-based digital consultancy and product studio Modea, says he often sees agencies launching products without really understanding what it will take to make the product succeed in the long term. “Agencies must not overvalue the output from a passion project or the result of a hack-a-thon,” he says. The hard question is how a creative agency—by definition, a service business—can create, launch and sustain products well enough to compete with companies that aren’t focusing on anything else.

As designer Rafael Esquer discovered, however, branching into retail when you’re already running an established design studio is not without its challenges. Esquer established branding and design firm Alfalfa Studio in New York City back in 2004. Five years later, he launched a boutique clothing brand called Alfalfa New York. “We realized that by being our own client, we would have complete freedom to create products and designs we love,” Esquer says. “We wanted to create a product that reflects the same level of excellence we invest into our graphic design practice.” For the first few years, though, growth of the new business was very slow. Alfalfa’s design business had to be stable enough to support the fledgling enterprise until it could sustain itself. Now that Alfalfa New York has matured and gained momentum, it is generating a profit, but the extra income wasn’t something Esquer could count on right away.

For some, the solution is simply not worrying about profit. In 2010, London interactive design studio ustwo launched an interactive app called Granimator, which creates “musical wallpapers” for smartphones and tablets using graphic and illustrative elements designed by established creatives such as mcbess, Kate Moross, James Joyce and Pete Fowler. Granimator has been downloaded more than 450,000 times to date, but it’s not making ustwo rich— marketing director Steve Bittan decided early on that Granimator should be free. “The emphasis for us was all about learning and improving our skills,” he says, “and collaborating with some seriously talented people. The project has never been about making money.”

Advertising Annual 2014

Not all agencies relinquish profits altogether, but many have found it important to weigh factors other than money when assessing the value of creating independent products. “I’ve benefited in

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A sampling of products developed by creatives (clockwise from left): A solar-powered wayfinding device from Studio Akko, a wallpaper-creation app from ustwo, a wall calendar by illustrator Karolin Schnoor, a clock from character designer Muxxi and a line of printed fabrics launched by Jolby & Friends.

countless other less quantifiable ways,” says Julianna Goodman, founder of JG / D + A D design studio. Goodman, formerly a graphic designer for the Museum of Modern Art in New York and web art director for Kate Spade, created an interactive children’s book app called This Monster: Creatures That Love Color. “The work has led to other projects and directed me toward new opportunities that would never have surfaced prior,” she says. “Clients like to know that I saw this project through from beginning to end.”

Josh Kenyon and Colby Nichols of Portland-based design studio Jolby & Friends started selling prints and related products online through Etsy and Big Cartel just for the chance to stretch their imaginations and interact directly with customers. Last year, they broadened their portfolio with a fabric collection that they launched through Spoonflower. It didn’t make much money, but that didn’t really matter to Kenyon and Nichols. “The fabrics opened up a lot of prospective clients’ eyes to our capabilities, and we’ve been hired since then to do commissioned patterns for action sports and apparel companies,” says Nichols.

It’s important to consider, however, how much a product launch might take away from the core business of the design studio. “The process of creating, making and producing a print to sell versus taking on another client job is something we weigh constantly,” Nichols says. “It all comes at a price.” Illustrator Karolin Schnoor, who sells her work on Etsy, says she often ends up sacrificing the creative for the administrative, spending a lot of her time “answering e-mails about when things will arrive and reassuring customers that their products are on their way.” Sandra Dieckmann, an illustrator who earns a living selling her work on web shops like Society6 and Mr. Chiizu, says her illustrations are “frequently ripped off and reproduced without consent,” which is almost impossible to prevent. “Images of your work are readily available to third parties worldwide,” she says. “Countries with lax copyright laws don’t give a damn where the artwork comes from.”

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If the primary goal of launching a product is to enrich skills and facilitate creative expression, these drawbacks are probably negligible. But if the goal is to sustainably and profitably move into product development, the entrepreneurial venture has to be more than just a side project. Catalano, whose company Modea incorporated the development of digital products into its consulting services, says the change required “a fundamental realignment across the entire organization.” Modea took cues from tech companies like Google and Facebook, which build product development groups into their overall business model. The studio now creates products as part of its expanded service-oriented relationships with clients, so it can hone new inventions over time and reduce the risk involved in bringing them to market.

One of Modea’s first successful independent products, a web platform called Moveline that lets users shop for movers the same way they would shop for flights on a site like Expedia, was initially a client project for a moving company called Lawrence Transportation. Moveline became a joint venture between Modea and Lawrence, then evolved into a separate company with an initial $400,000 investment from Modea. Catalano says that creating a spin-off company is an important step in developing a truly sustainable product. “Only when the company is truly set off from the mother ship will it be able to forge its own destiny,” he says.

That has been the case for a digital research tool called Ethnio, once an internal agency experiment and now an independent business. Nate Bolt’s design research firm Bolt I Peters initially created Ethnio for the company’s own use. “We needed to intercept real humans, live, in the exact moment they used our client’s interfaces,” Bolt says. “Seems so simple, but all the existing ways to do that—surveys, links, e-mails—kind of sucked.”

So the firm built Ethnio, which allows the owner of a product or business to make contact with people while they’re actually using

PUSH TO START Five incubators helping to launch tomorrow’s designer-founders

For Portlanders, Seattleites and online networkers, Makers’ Nation unites designers with creative entrepreneurs of all stripes, including coffee roasters, app developers and crafters. Through workshops and meet-ups, these independent artists share skills to strengthen each other’s businesses.

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For the three-dimensionally inclined, TechShop provides the tools, classes and space to create. With eight shops nationwide, it offers a wide range of supplies, including glass cutters, soldering irons and digital cameras, plus hands-on opportunities like 3-D printing, welding and woodworking. In case this sounds overwhelming, the shops also provide support through personal training and prototyping. —Rebecca Huval

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For those who would rather receive than spend, Designer Fund invests $100,000 to $1 million in designer co-founded startups. In addition, its Bridge designeducation program connects designers with the San Francisco company of their choice—including Airbnb, Pinterest and Dropbox—where they are paid to work full-time for at least three months, during which they also participate in weekly workshops, attend dinners and hear talks from tech founders and design luminaries. The program aims to give talented mid- to senior-level designers up-to-date knowledge and startup savvy so they can contribute to the cutting edge— in other words, an MBA for those with MFAs.

The Pratt Design Incubator for Sustainable Innovation was once exclusively for Pratt alumni, but is now open to the public. It provides space and mentorship to more than fifteen startups, and has supported the launch of more than 30 companies such as TurnUpArt, which upcycles art and design supplies through a social network.

The incubator also offers a three-week Certificate Program in Design Entrepreneurship.

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With support from Google, international digital media school Hyper Island recently launched 30 Weeks to cultivate designers’ startup skills through mentorship, critiques, workshops and, most important, hands-on experience. In the application-only program, designers are given the space and resources to create products and start companies in New York City. In collaboration with Parsons, Pratt, Cooper-Hewitt and SVA, the program’s first class began in September, with 20 students. Tuition fees are set at $10,000 per student—a hefty price, but cheaper than many grad degrees, and two lucky designers received full scholarships.

the company’s website and ask them questions in real time. Bolt decided to build Ethnio into a product that others could use simply because, as a consultant, he was always working with other people’s interfaces, and he wanted to make his own. At first he didn’t even charge for it, though, ironically, he found he got a lot more users as soon as he instituted a fee.

In 2012, when Ethnio was still at an early stage of development, Facebook acquired Bolt I Peters and hired Bolt as design research manager. But Ethnio remained independent, and Bolt kept working on it. Now he devotes himself full-time to Ethnio, which is a product-focused company, not service-based as Bolt | Peters was.

It has about 2,000 users around the world, including clients as diverse as Ford, Etsy, DirecTV and the Harvard Business Review. Bolt is considering how to grow the company so that he can both hang on to what he finds personally fulfilling—the intangible benefits of a side project—and dedicate the focus necessary to make Ethnio a fully sustainable business of its own.

Bolt, and many others like him, might be pushing the boundaries of what it means to be a creative professional, but they’re also developing a new way to be an entrepreneur, one driven less by the bottom line and more by passion and an understanding of how to make things that people actually use. And whether that manifests as a tiny side project or a full-blown business, they’ll keep trying despite the risks involved because, as Bolt says, they “don’t know any other way to live.” ca Communication Arts | commarts.com

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EDUCATION

Stephanie Orma

Lessons Learned

Top agency creatives share best advice from valued mentors.

SUE ANDERSON, executive creative director, Crispin Porter + Bogusky “Sandy deWitt at TBWA\Hunt\Lascaris in Johannesburg, South Africa, taught me to make a decision and stick with it.

Every day we’re faced with reasons why we shouldn’t do good work: it’s too scary, too hard to pull off, there’s no time, no money, etc. You have to be brave and commit to your choices in the face of adversity. If you waver, nothing will turn out the way you imagined it.”

RICK CONDOS, co– chief creative officer, ARGONAUT “When Steve Simpson, my former creative director at Goodby, Silverstein & Partners, first hired me as a writer, he said, ‘Don’t do anything for two weeks except read this client info. You need to know more about this account than anyone else before you can begin to write an ad.’

That advice formed who I’ve become as a creative—now I want to know everything possible about a client. Information others think is irrelevant can often reveal the biggest insights.”

JAIME ROBINSON, vice president and executive creative director, Pereira & O’Dell “When I became ECD here, my mentor and chief creative officer, PJ Pereira, encouraged me to open up to other co-workers and teammates solving the same problem. As advertising creatives, we are naturally competitive. We fight our entire careers to be the one who solves it. But there’s no room for that as a creative leader. That mindset not only ruins the department’s morale, but (gasp!) you may not always have the best answer.”

KEYS TO A KICK-ASS MENTOR-MENTEE RELATIONSHIP

I

’ve been a freelancer the majority of my creative career, first as a designer, then as a copywriter. I purposefully chose this DIY path for the freedom it entailed (hello, coffee shop-turned-offices and makeup-free workdays). But for all the perks, there’ve been just as many tear-drenched days and head-banging-the-wall nights when I would’ve given anything for creative guidance— someone to help navigate those tough challenges on the page and in the field. Eventually, I found my way… with flailing arms, hard work, my husband’s insightful advice and experience teaching me what not to do.

But here’s the insider secret: whatever route you choose, freelance life or agency life, there’s no need to be the lone creative trekking the wilds of the advertising jungle on your own. In fact, asking for help and guidance is exactly how many of the industry’s top visionaries achieved success. Following in their wise footsteps, we turned to them for counsel on finding and making a kick-ass mentor-mentee relationship.

Play the field “Stating the obvious, start by seeking out someone you respect,” advises Anne Elisco-Lemme, creative director at Duncan/Channon.

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In other words, keep your radar on the industry, read a lot and make note of who’s doing great work. If you’re a student, scope out your instructors. If you’re in an agency, pay attention in meetings, probe the talent around you, and study what they do and how they do it—and not just within your discipline.

“Some of the most interesting mentors come from different backgrounds and bring a unique perspective,” says Carolyn Hadlock, principal and executive creative director of Young & Laramore, who learned volumes about strategy from the agency’s CEO, Paul Knapp. “As a former lawyer, he processed situations so differently than my creative counterparts. I’ve learned a lot about asking good questions from him.”

Mike Caguin, chief creative officer at Colle+McVoy, couldn’t agree more. “Creative minds get into this business to be creative, but often need help developing other skills to succeed.” Whether it’s learning perseverance, how to effectively present ideas or how to manage stressful workloads, Caguin recommends keeping an eye out for good mentors everywhere: in different departments within your agency, at local clubs, in associations, at conferences and even among friends of friends.

“When I first became a creative director at Mother London, I had trouble dealing with the responsibility of being the one who creatives hoped could save the work when client presentations went awry. Creative director Damon Collins told me, ‘Be patient with clients and keep asking why. If you can get to the root of what they mean, rather than react to what they’re asking for, you’ll often find your way to a better answer.’ I’ve probably used that advice more than anything else.” —ERIK ENBERG, senior vice president and group creative director, Arnold Worldwide PAM FUJIMOTO, executive creative director, WONGDOODY LA “My first job in advertising was as art director at WONGDOODY Seattle, where Tracy Wong, chairman and co-founder, became my mentor. One of the most valuable lessons I learned was to always be direct and fair in your feedback as a leader. It’s easy to be the lazy CD that tells creatives everything is crap. It’s much harder to articulate why and motivate your creative team to figure out a solution.”

MIKE CAGUIN, chief creative officer, Colle+McVoy “My first job as an art director was at a small agency in Baltimore where I partnered with Jeff Grutkowski, a copywriter several years my senior. He taught me that generating and crafting ideas won’t always come easily and that effort is just as important as talent. But if you stick with it and push through, there’s always a solution. Forging a new path is exponentially more difficult than traveling down an existing one.”

And although finding one mentor is great, John Cornette, senior vice president and executive creative director at Erwin Penland, advises mining for mentor gold in more than one river. “In my career, I’ve always looked for traits that creatives excelled at and focused on learning from them in that specific area. Over time, you gain knowledge from a lot of different people to find your own style.”

Be the hungry hunter But the key to scoring that sought-after adviser? “Don’t wait for them to come to you,” urges John Butler, executive creative director of Butler, Shine, Stern & Partners, who made it a careerlong practice of reaching out to writers and art directors he admired for feedback and advice.

Rick Condos, co–chief creative officer at ARGONAUT, adds, “A writer at our agency approached me and said, ‘Once a month, I want to have coffee with you.’ If I forget, she’ll remind me, and I’m so glad she does. There’s no downtime in business, so mentees have to push to make it happen.” Even beyond requesting time, Condos believes the onus is on you as the mentee to bring questions, keep the dialogue going and show you’re motivated. Whether it’s asking for critiques, inquiring about valuable lessons learned,

ANNE ELISCO-LEMME, creative director, Duncan/Channon “Early in my career I worked with associate creative director and writer Cathy Bowen at a relatively unknown Pittsburgh, Pennsylvania, creative shop.

Cathy taught me that if you don’t get all tingly about an idea, if your stomach doesn’t do a little flutter, the idea probably isn’t good enough. We sometimes gauge our productivity on how many campaign ideas we come up with. But did you land on the one? If not, don’t stop digging.”

listening to criticism you might not want to hear or giving feedback, don’t wait for the mentor to take the lead.

Make it work Of course, it takes two to make sparks fly. If someone is interested in mentoring, they’ll pick up the reins, make themselves available and involve you in the learning process. “The best mentors ask, ‘What would you do?’” says Craig Mangan, executive vice president and executive creative director at BBDO. When they were both working at Goodby Silverstein & Partners, creative director Jamie Barrett would invite Mangan to pull up a chair next to his monitor.

“I’d watch Jamie craft things over and over. It showed me his mindset and allowed me to absorb the tricks he used to get somewhere great. Then when I was working alone, I didn’t second-guess myself nearly as much.”

It also helps if you share the same values, have similar creative tastes and have a mutual respect for one another. But the best relationships offer a true give-and-take, with the mentor artfully blending brutal honesty with encouragement and the mentee ready to put words into action. “Find someone who makes you feel really insecure because of how great they are, but who also inspires you to become half as great as they are,” advises Mangan.

Communication Arts | commarts.com

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EDUCATION JEANIE CAGGIANO, executive vice president and executive creative director, Leo Burnett “Kent Middleton, an ECD at Leo Burnett and one of my most influential mentors, advised me, ‘Sometimes you’ve gotta let the train hit the wall.’ In other words, you can’t control everything: clients will have hissy fits, creatives will go AWOL, your boss will pick the wrong idea, etc. So fight it as long as you can, but at a certain point, let it happen. Then swoop in and fix the situation. Out of crisis comes opportunity.”

CHRIS ROBB, partner and chief creative officer, Push “I was lucky to work closely with David Lubars at BBDO West and Fallon, and observe how someone that successful could be so downto-earth and genuine. It was refreshing and gave me faith that you can be focused on big time work and not be a schmuck.

Less-talented people try to baffle you with bullshit, especially with all of today’s new technology. But David had a way of inspiring you to really push things by just keeping it clear and simple.”

JOHN BUTLER, executive creative director, Butler, Shine, Stern & Partners “In the eighties, I was fortunate to be one of the young art directors that Jerry Roach, creative director at JWT New York, took under his wing. He taught me how to use typography more visually, to push against design norms and not to rely on preconceived notions of what something should look like. I learned that nuance is everything and to agonize over the details.

I have Jerry to thank for driving plenty of people crazy over the years!”

“It’s weird to say my professional mentor was a relative, but it’s true. One of the best pieces of advice my father and former Fallon president and creative director, Bill Westbrook, gave me was, ‘Never take a job for the money. Find one that gives you the opportunity to learn and grow.’ The second-best advice he gave was, ‘If you don’t do bad work, bad work won’t get done.’ Push yourself, don’t settle and be relentless in finding a better way. When I was able to combine those two pieces of advice, I found confidence in my work.”

—TRIPP WESTBROOK, executive creative director and partner, Firehouse

KAT GORDON, founder and creative director, Maternal Instinct; founder, 3% Conference “The first creative director to hire me, Fred Schwartz at Anderson & Lembke in San Francisco— now at Left Field—became a great mentor.

Looking over my portfolio, he once commented that my writing was stronger than the accompanying art and that I needed to demand more from my art director. This gave me the confidence to stand up for my ideas and the realization that I had to care about the entire creative execution, not just the words.”

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STEVE GRIMES, creative director and copywriter, The Richards Group “Shon Rathbone, my mentor and executive creative director at Publicis Dallas, showed me that being a good leader is a lot like shifting your mindset from renting to owning. For renters, every problem is someone else’s.

But owners own their problems. When I moved into a leadership role, I approached it like I had equity in the company and was responsible for its success or failure. When you approach it like you own it, you have a whole new perspective and work ethic.”

CAROLYN HADLOCK, principal and executive creative director, Young & Laramore “Years ago, when I was an art director at Young & Laramore, I was going through a tough time juggling multiple projects. David Young, the agency’s co-founder, asked me how I was holding up. I said I was good—even though I was incredibly stressed out. He said he admired that I wouldn’t allow myself to become a victim and be defined by my circumstances.

Though there are days when my whiny self kicks in, I hear David’s words and they right me.”

M E N TO R P R O G R A M S ADVERTISING The Advertising Club of New York’s ADvantage Mentor Program WHERE: Online CAREER LEVEL: Any COST: Free URL: theadvertisingclub.org This six-month mentorship includes one monthly phone call and at least two office hours by phone, email or in person.

The 3% Conference Speed Mentoring WHERE: San Francisco, Atlanta CAREER LEVEL: Any COST: $122–$975 (conference fees) URL: 3percentconf.com Like speed dating, 20 creative directors offer fast-paced one-on-one conversations, as part of the main or mini-conferences, with the opportunity for longer-term mentorships.

ADC Portfolio Night WHERE: More than 20 cities worldwide CAREER LEVEL: Any COST: $10–$25 URL: portfolionight.com Aspiring copywriters, art directors and designers brush shoulders with creative directors for advice, networking and recruitment.

AIGA Chicago Mentor Program WHERE: Chicago CAREER LEVEL: Any COST: Free URL: chicago.aiga.org From an initial group of up to 80 designers, small groups form around common interests and mentor one another. Past groups have visited local agencies and even designed and written a cookbook.

Institute for Human Centered Design’s Access to Design Professions WHERE: Online CAREER LEVEL: Students or entry-level designers COST: Free URL: humancentereddesign.org Funded by the National Endowment for the Arts, this program enables professionals to mentor designers with disabilities.

GRAPHIC DESIGN Adobe Design Achievement Awards Student Mentorships WHERE: Online CAREER LEVEL: Students and recent grads COST: Free URL: adobeawards.com Fifty accomplished professionals select mentees from the winners of the Adobe Design Achievement Awards and give feedback on their portfolios.

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INSIGHTS

INSIGHTS

Kelly Diaz

The serious business of comedic copywriting Copywriter Kelly Diaz battles the evils of advertising—namely, sexism and self-seriousness—with irreverent, hilarious ads. In a profession that often keeps writers backstage, her down-to-earth style sometimes steals the spotlight. She wrote and starred in the commercial “U” by Kotex that ridicules tampon ad clichés: “How do I feel about my period?” Diaz asks sarcastically. “I love it. I want to hold really soft things like my cat.” She’s not afraid to take jabs at herself, either.

In her online portfolio, she features an “endorsement” from a web commenter who writes: “I clicked on the icon because I thought [Diaz] was Michael Jackson.” A former staffer at Mother New York and Venables Bell & Partners, Diaz has recently freelanced for Anomaly and Bartle Bogle Hegarty. She’s worked with clients from CB2 and Google to Target and Obama. While other advertisers play into stereotypes, Diaz has the last laugh. —Rebecca Huval There’s some interesting self-awareness in your work.

What’s the benefit of pointing out openly that advertising is propaganda?

Surprisingly, it’s still refreshing to be self-aware in advertising, mostly because clients rarely do it, which is odd, considering people obviously know they’re watching ads. I mean, the cat is out of the bag. But for some reason, we’re still placing the product in contrived, pretend situations when we could be letting people in on the joke.

Staged activities sparked some of your viral campaigns, such as the “$100 bill” running through Central Park. What is it about experiencing ads in the physical world that makes people grab their smartphones and share?

Well, lucky for us in the advertising industry, we’ve reached a highly sophisticated time in civilization when people are willing to share photos of a dog turd with a nice filter. People aren’t thinking, “Oh, this is an ad, let me share it!” They just want to share something that makes them appear funny or cool—which might very well be a branded thing or a well-lit turd.

When did you decide to become a copywriter?

I guess it was after I tried being a marketing coordinator at Clear Channel and was bored out of my mind. I had already dabbled in 38

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advertising—I got my undergrad degree in advertising and my first internship was at Cramer-Krasselt in Orlando, Florida—and that experience made me go for it.

I got into the business because I wanted to write funny TV ads.

But I’ve stayed in the business because copywriting is so much more than that. Along the way, I’ve fallen in love with branding, experiential and interactive [projects]... really all the extras that come with the job description.

Your Kotex ad was hilarious. After all, who wants to twirl on the beach in a white dress when they’re menstruating?! What other genres of advertising get a flunking grade from the female perspective?

This topic still boggles my mind. It will go down in history as one of humanity’s greatest mysteries: “How did they build those pyramids, and man, why was chick advertising so utterly lame?” In terms of genres, the beauty industry might be the worst offender, followed by household-cleaning products. If I see one more racially ambiguous woman smiling while wiping her kid’s grape juice mess, I’m going to lose it.

What place does humor have in political branding?

I think as soon as you bring in humor, you get people on your side— which is the whole point of politics. In Obama’s No Mom Left Behind campaign, which asked Democrats to win over their

moms’ votes through e-mail, my friend Julie Matheny and I wrote: “This is the part where you say the stuff you’ve used your whole life to get what you want. You know, phrases like ‘That sweat suit really brings out your eyes’ and ‘I love you.’” Maybe it’s just me, but I definitely trust someone more after they’ve made me laugh. I guess this makes me pretty vulnerable to funny con artists and murderers.

Do you notice a unifying theme among your favorite campaigns?

My favorite projects to actually work on have been campaigns that talk to women. The landscape is wide open, and the insights come naturally, so whenever a client is truly willing to change things— and that is key—it’s crazy fun. That and the fact that there’s always wine and cheese at the briefings.

What’s the hardest part of copywriting?

When you have to follow a client’s guidelines with which you disagree. It’s tough to be inspired and have fun with the work when you don’t believe in the direction it’s going.

How do you research before writing an ad?

It’s different every time. I might watch some movies if I’m looking

for inspiration on tone, or I’ll just go have a drink with someone who is the target audience.

What was your favorite part of working at Mother?

I loved so much about Mother, but I think the best thing about the agency is that management there treats everyone like adults, despite the fact that we all behave like children. You get a lot of freedom to screw up, grow up and, hopefully, make some magic along the way.

Why did you decide to start freelancing?

To travel. So far, I’ve been to Thailand, Vietnam, Cambodia, Laos, Italy and Israel.

What work environment keeps you focused?

I like to switch between different coffee shops in my neighborhood.

Quiet ones are best because I can’t write while listening to music or conversations. And if I have to work at night, I need to be in my PJs, drinking wine.

What advice do you have for people just entering advertising?

Learn to work by yourself—you can deliver regardless of who you’re partnered with, and that makes you worth your salary. ca

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Adventure.com To entice web explorers to traverse the physical world instead, travel-planning brand Adventure.com features luminous photography, sophisticated trip-planning tools and spirited typography. In-depth, first-person narratives help readers envision cycling from New York to Hong Kong or hiking Oahu’s “forbidden stairway to heaven” (this last story made the first page of Digg during Adventure.com’s first two weeks). The design team— consisting of staffers from San Diego agency Digital Telepathy and travel marketing company ISM/CP—spent a large part of the fourmonth project optimizing page loading to support the high-quality photography. They experimented with the ideal way to export photos and settled on the WordPress photo-compressing plug-in WP Smush.it, progressive JPEG loading and two layers of caching.

The result is an elegant site that loads instantly. To guide users seamlessly, custom navigation tools appear where they are needed—for example, search features show up in the blog, quick links to travel categories appear in the trip section and social media sharing tools pop up only when a user starts reading a story, freeing up valuable space across the top navigation bar. Users can further

customize the site by saving stories and trips to a personalized list. So far, Adventure.com has gained more than 80,000 Facebook fans and almost 5,000 Twitter followers. “Most travel sites are just retailers promoting commodities,” Adventure. com vice president Travis Snelling says. “We’re building a lifestyle brand as a content publisher and focusing on telling the visual story of the trips and experiences we feature instead of just listing an itinerary with a price tag.” —Rebecca Huval Jessica Moon, art director; Brent Summers, senior producer; MK Cook/ Brian Stieler, user experience designers; Brian Burkett/Annie Sexton, developers; Digital Telepathy/ISM/CP, agencies; Adventure.com, client.

Infectious thinking “Viral” used to mean a disease. Now it’s a good thing. ViralBlog aggregates recently published blog posts on brand marketing, big data, social media, user-generated content and the like. The thinking isn’t deep, but the rapid-fire posting will keep you on trend. Be sure to check out the feed at Viral Friday, which showcases five viral-worthy videos each week at viralblog.com.

Old-school advertising Tools, toys, technology These days, it’s hard to tell the difference.

The big brains at IPG Media Lab do a deep dive into emerging technologies to help brands, marketers and agencies peer over the horizon to see what’s coming next.

Whether it’s wearables, proximity shopping, moment-based advertising, nano drones or the Internet-of-things, it’s covered at ipglab.com.

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The golden age of print advertising is lovingly captured in the Advertising Archives, a web-based collection of more than a million images. Collections range from the early 1900s to the 2010s and covers print as well as TV, with a concentration on what the Brits call “adverts” for drinks, food, fashion, cigarettes, cars and perfume. Print isn’t dead, it’s just taking a nap at advertisingarchives.co.uk.

—Sam McMillan

Design That Works Take classes or earn a degree — online or in San Francisco: School of Graphic Design School of Illustration School of Photography Yellow Ribbon Approved Academy of Art University Founded in San Francisco 1929

Visit www.academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information.

Accredited member WASC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH*, M.ARCH), CTC (California Teacher Credential). *B.ARCH is currently in candidacy status.

Artwork courtesy Song Seunghyun, School of Graphic Design

ph 888 680 8691 // www.academyart.edu

BY JESSICA CAREW KRAFT

I

f you want to understand what makes Volume Inc. tick, you won’t get a pat answer or a clichéd response. Founding partners and creative directors Adam Brodsley and Eric Heiman seem to float above convention, defying categories and transcending the traditional boxes that designers are taught to think in.

The work of their San Francisco–based firm spans such a spectrum of media—websites, print collateral, product demos, video, typography, exhibition design, books, bicyclepowered light bulbs—that it is hard to label it as graphic design without attaching several asterisks. Brodsley and Heiman seem more comfortable talking about what Volume is not. The firm’s website declares: “It’s not branding, strategy, user experience, social media or even design” and describes the aesthetic of one of its award-winning projects as “not hipster hip.” A retrospective exhibition of the company was titled Masters of Design: Our Work Shouldn’t Be Here.

That 2013 show, mounted at Western Gallery in Bellingham, Washington, featured more than a decade of the firm’s work. It also challenged the audience to consider whether graphic design should even be displayed in gallery spaces.

Unlike artwork intended for exhibition, design’s original purpose is lost when it’s displayed behind lucite as an objet.

Brodsley and Heiman maintain that such design without context and engagement is the proverbial falling tree that no one hears. Does it exist? Is it really design?

These kinds of paradoxes abound in their work for a roster of nonprofits and cultural organizations, and also in their personalities—whereas Brodsley is reticent, yet quick to laugh, Heiman probes effusively into serious terrain with earnest pronouncements. The two admit that they “don’t agree about a lot of stuff” and don’t socialize too much apart from work, which they believe is important to their success.

Yet it’s apparent that they create an ambiance of playfulness just from their choice of the name “Volume,” which offers

a clue to both founders’ creative origins in three-dimensional design. Brodsley worked on exhibitions and environments at Mauk Design for many years, and Heiman has a degree in architecture. They prefer to say that Volume specializes in a design process, one that penetrates past the surface level.

“It’s as much about the how as it is the what,” says Brodsley.

“We are always looking beyond ink, paper, screens and pixels.

We don’t think of our work only as artifacts, but as systems at work that other people use and plug into.”

Their brand of systems thinking means that although most of their projects are technically ephemeral, they aim to inspire sustainability and create enduring relationships. Their design for the donor recognition wall at the York School is embedded with a time capsule that won’t be opened for 100 years. The green innovations exhibit they created for the Boy Scouts of America’s solar-powered model tree house is intended to train kids in lifelong conservation habits. And their recent book design for the DIY magazine ReadyMade, which features innovative instruction manuals, will remain useful to readers even after the projects inside are completed— the book’s chipboard spine also functions as a ruler. But even with all of the grand ideas, Volume’s work can also be purely mesmerizing.

IDEO editorial director Shoshana Berger co-founded ReadyMade magazine and has worked with Volume on a number of projects. “What they always bring to the table is this spectacular fussiness,” she says. “They come up with these meta design languages. Sometimes they allude to another time or refer back to the iconography of a lost childhood, sort of like a Wes Anderson movie or Portlandia. And they do it in a way that is so pleasing and not overly twee,” she says.

With a modern twist on nostalgia, Volume sends out invitations and mails their annual holiday cards imbued with agency and animation. Berger describes how she received a vintage album cover in the mail, and the record itself had

Captions were supplied by Volume Inc. Firm partners Eric Heiman and Adam Brodsley served as creative directors on all projects shown.

Right: “Yerba Buena Center for the Arts asked us to rethink its public image through the launch of the YBCA:You program, which provides participants with intimate and social vehicles to engage with art, such as personal docent tours and exclusive VIP events with artists. We thought that since the program is about ‘You,’ the campaign should be, too: privilege the people that come to see the art, celebrate the disparate reactions that art provokes and highlight the communal activity that art facilitates. A simple concept, but it was quite an undertaking to find the right combination of heads and images.

We went through thousands of images and hundreds of possible combinations before landing on the select few that were used.” Ed O’Brien, designer; Gabriel Branbury, photographer; Yerba Buena Center for the Arts (YBCA), client.

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Despite its breadth of disciplines, Volume maintains a lean team of just seven designers (and Brodsley’s dog, Ziggy, a Rhodesian ridgeback) in a light-filled, third-floor office near San Francisco’s North Beach neighborhood, which abuts the forested escarpment around Telegraph Hill. Though they say they prefer a nonhierarchical workspace, each partner enjoys a spacious private office that opens onto the central communal desk where their team circles around wafer-thin Mac desktops. “The architecture just sort of leant itself to this arrangement,” Brodsley admits sheepishly. But everyone is delighted to now be above the street noise and haze that pervaded their previous ground-floor office located in the colorful, yet crowded Mission neighborhood. The giant unified desk reinforces the firm’s emphasis on collaboration, as does their glass-walled conference room where regular idea sessions take place. (Heiman bristles when I refer to these as “brainstorming” sessions, citing recent findings that have “debunked that practice as pretty useless.”)

But part of the team’s success is rooted in how they bounce ideas around liberally, fostering a culture that values feedback and input from everyone. Outside help, say, a cabinet builder, a graffiti artist or a social media guru, is frequently brought into the mix, and clients are considered integral to the creative process. It’s not uncommon for the partners to deploy inventive exercises like comedic improv and roleplaying to answer the key questions of a design brief. When I wondered how he and Heiman manage to integrate so much input, Brodsley grinned widely and said, “We like the collaboration with clients, with our designers and with each other—otherwise we’d be fine artists.”

It’s no surprise, then, that they have a highly pedigreed and progressive client list (SFMOMA, Rizzoli, Mohawk Fine Papers, the California Academy of Sciences, the San Francisco Jewish Film Festival) and that they rarely work with companies selling the proverbial widget. Even though Brodsley and Heiman say that this is not intentional, Shoshana Berger disagrees. “They are highly principled. I know Heiman likes working with local organizations that he admires. They are not in it for the money,” she says.

© Mariko Reed

been imprinted with the firm’s invitation to its tenth anniversary party. “They’re archivists, always searching for material and practicing creative reuse,” she says. Another year’s holiday card invited recipients to select their own gift by checking a box on a beautiful letterpress card. Friends could choose from recent books the team had designed or get their own personalized color palette from the office’s ever-growing collection of stray Pantone chips. No snowflakes or reindeer there.

For 826 Valencia, a nonprofit organization founded by novelist Dave Eggers that helps youth develop writing skills, Volume was brought in to design a web store after a fruitful project revamping 826 Valencia’s main site. The store, which sells pirate clothing, castaway paraphernalia and secret treasures, partially funds the tutoring program, but it also complies with a city ordinance that requires them to offer retail in their plum location in the Mission district. This was the project on which Volume cut its teeth in interactive media, and they developed a design that toed the line between irreverence and sophistication. Its user-friendly backend allows short, funny videos, modular filler content like “advice from a pirate” and pithy quotes from students animated by scrimshaw designs. They succeeded in highlighting the true product of 826 Valencia—student writing. “We wanted to communicate more about the store’s essence and voice and less about the products,” says Brodsley.

In a 2009 campaign for the Yerba Buena Center for the Arts (YBCA), largely recognized as the leading institution for contemporary art in Northern California, Volume’s team smashed normative ideas of what art museum advertising could be. They pasted comic figures whose eyes had been struck with lightning bolts on top of stereotypical blackand-white stock photography into posters, flyers and street banner promotions. The images gave off a liberating, somewhat psychedelic vibe. The idea was to emphasize how seeing the art would make visitors feel electrified. In one of their signature meta maneuvers, they also publicly circulated common reactions to the YBCA, creating a pamphlet showcasing the typical responses of non–art world types to contemporary shows: “I don’t get it!” and “What’s the Big Idea?”

“The campaign was cheeky and slightly subversive, like contemporary art, but it didn’t diminish the institution’s stature or sacrifice their authority,” Heiman says. Nonetheless, the creative team was relieved at the resoundingly positive reception of the campaign. “I was scared because it went against all the things I thought we should be doing for an arts organization,” Heiman admits.

This page: Partners and creative directors Adam Brodsley (left) and Eric Heiman at the Volume Inc. offices in San Francisco.

Right: “YBCA wanted to reassert itself as the Bay Area’s primary venue for showcasing diverse, cutting-edge contemporary art in a variety of disciplines and distinguish itself from the other local art museums and organizations whose promotion tended toward the stately and reserved. YBCA was one of the first arts institutions of its stature to champion graffiti and street art, so we thought it appropriate to hijack banal stock images with surreal illustrations to deliver this message of subversion, but in a way that is also approachable and fun.” Jon Wolanske, writer; Kim Cullen/Talin Wadsworth, designers; Jasper Wong, illustrator; Yerba Buena Center for the Arts (YBCA), client.

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VOLUME INC. But the strategy worked, and the YBCA marketing team invited them to return a few years later to recast their brand image for YBCA:You, a new type of membership program that grants participants more intimate and exclusive ways to engage with art. Participants, called “YOUers,” develop individualized programs with museum staff. On any given week, a YOUer might get access to a one-on-one docent tour, a VIP event pass or early admission to an opening party. The personalized interaction helps YOUers take an active role in the institution’s art programs, a key benefit Volume sought to emphasize in the street banners and public posters that launched the campaign. A gallery of face, hair and shirt shapes filled with wildly varied patterns demonstrates the customizability of the program.

When the Volume team presented their ideas to the museum’s employees, “None of the staff were too effusive about it at first,” Brodsley says. “But when it was [former executive director] Ken Foster’s turn to talk, he said that he had been waiting 20 years for a campaign like this. He said: ‘It’s [expletive] brilliant’ and then

This page: “SF Sound originated as a contribution to Issue 33 of McSweeney’s Quarterly/San Francisco Panorama newspaper, which we later reprinted as a limited-edition poster. This ‘subwoofer-asinfographic’ traces, in minute detail, the history of popular music in the Bay Area. We’re all big music fans at Volume, but the extensive musicology compiled here made us feel a bit lacking in our knowledge of the local scene.” Reyhan Harmanci, writer; Nathan Sharp/Talin Wadsworth, designers; McSweeney’s, client.

Right: “This guide to creative reuse for the now defunct and muchmourned ReadyMade magazine is itself a reusable object, with a spine that can be used as a ruler. The wide variety of content made the book resistant to a simple design system, and we spent many a late night—and, in Eric’s case, one visit to the ER for coffee-induced chest pains—designing page after unique page. And what other book out there uses the typeface Logger with a completely straight face?”

Elizabeth Fitzgibbons/Eric Heiman, designers; Jeffery Cross, photographer; Kate Francis, illustration; Akiko Ito/Volume Inc., design firms; ReadyMade, client.

“When Heath Ceramics changed ownership about ten years ago, we were hired to do a complete rebrand. Heath’s rich history and legacy of midcentury modern design was more than meaty enough to fill an entire book, so, along with writer Amos Klausner, we pitched the idea to Chronicle Books and, voilà, Heath’s new owners had an additional 200-plus-page calling card to promote its relaunch. The design references the dynamic between Heath’s signature glazing and raw clay edges.” Adam Brodsley/Eric Heiman/Amber Reed, designers; Jeffery Cross, photographer; Heath Ceramics, client.

“We like to call this book for Mohawk Solutions the Groundhog Day or Run Lola Run of paper promotions. Our concept was the process of coming up with design solutions; sometimes it’s hard, but sometimes you come up with a bunch and wish you could use them all. We selected ten images from various sources—Mohawk wanted us to use existing photography—and compiled them into a sixteen-page image sequence that is repeated identically three times in the promotion.

Three writers each wrote their own narrative to accompany the sequence—one in story form, one in dialogue form and one in a sixword memoir. Alas, no groundhog appears in the promo.” Eric Heiman, designer; Lee Friedman, photographer; Mohawk Fine Papers, client.

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VOLUME INC. hugged us! Best client meeting ever.” YBCA marketing director Kathy Budas adds, “They really got us. Their images are about how you feel here. It’s balloons, it’s an exploding volcano, it’s a calm sea—all of the ways you respond to the artwork,” she says.

When Brodsley and Heiman spotted people taking numerous selfies at the image wall, they saw their work helping YBCA remain relevant in the tech-focused San Francisco Bay Area, where nonprofit funding often hinges on social engagement. The campaign went on to win top awards from AIGA and Core77, among others, but Brodsley and Heiman seem to care more about the public’s reaction. “As much as we relish praise from our peers, having something take root in a much more public, nondesigner forum is really what we aspire to do,” says Heiman. “Design is for people, not Pinterest.” ca

This page: “What designer doesn’t dream of having a solo gallery show?

Certainly, we were thrilled to be asked… and then we saw the 5,000-square-foot gallery with 20-foot-high ceilings. How do we fill that with ‘graphic design’? And isn’t design in a gallery, under glass, a little disingenuous? Our three main goals were to make it tactile and experiential, to make it approachable with no pretentious art preening, and to encourage direct dialogue with visitors. Artifacts were displayed on plywood boxes and were meant to be picked up and examined. A 135by 8-foot banner of our work weaved through the main gallery, flanked by a ‘Wailing (Poster) Wall’ of inner thoughts, milestones, haiku and outside comments about Volume. Visitors contributed to the exhibition by filling out three sticker prompts, and there was even a projected Skype link to Volume’s offices, where visitors could view daily goingson and have conversations with the staff.” Bryan Bindloss/Adam Brodsley/Eric Heiman, designers; Daniel Surgeon, design; Robert Divers Herrick, photographer; Western Gallery, client.

“When you’re competing with zip lines, climbing areas and a skate park, a conventional exhibit about sustainability targeted at teenage boys in the wilds of West Virginia isn’t going to cut it. We utilized tactile and low-tech means, including a large typographic mural and a ‘Spin-OPledge’ wheel that irreverently deliver tips to Boy Scouts on how to be more sustainable in their everyday lives.” Brian McMullen/Michael Rigsby, writers; Bryan Bindloss/Ragina Johnson/Brice McGowen/Daniel Surgeon, designers; Natasha Fraley, senior content coordinator; Joe Fletcher, photography; Erin Kemp/Hanna Thomson, project managers; Pacific Studio, fabricator; Brett Terepluk, Studio Terepluk/Adam Brodsley, exhibition developers; BNIM/Mithun/Volume Inc., design firms; Boy Scouts of America/Trinity Works, clients.

Right: “Designed for the grand reopening of the California Academy of Sciences, the Islands of Evolution exhibit examined various research expeditions in Galápagos and Madagascar through the lens of evolution.

The exhibit modules were developed from a standardized kit of parts— including direct-to-ply prints, low-energy LED light boxes, A/V and specimens—creating a nonlinear, contemporary cabinet of curiosities.

We co-opted the scientific specimen box as a method of organizing disparate content that rewards visitors whether they have two minutes or two hours to spend on it.” Jeremy Bloom/Carolyn Collins Petersen/ Sophie Katz/Aaron Pope/Michael Rigsby, writers; Iran Narges/Margot Piper/Amber Reed/Talin Wadsworth, designers; Joe Fletcher, photographer; Cinnabar California Inc., production company/fabricator; Darcie Fohrman/Natasha Fraley/Jonathan Katz/Emily Routman, exhibition developers; California Academy of Sciences, client.

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MARCUS SMITH

By Dzana Tsomondo

F

ew African American twentysomethings’ names would ring a bell in the world of commercial photography. So even though I have read his bio and talked to him on the phone, I’m still somewhat surprised when I meet Marcus Smith in Chicago. Despite our ten-year age gap, we quickly bond over a shared passion for basketball, the Chicago Bulls in particular. He played basketball until his junior year of high school and carries himself with a physical self-assuredness that makes me think he could probably run a few full-court games right now.

Smith’s sports photography is intimate and physical, images so candid they almost seem like casual snapshots. But the composition and technique is unmistakable.

A young quarterback falls into his drop back, ball high and tight to his chest as late afternoon shadows reach across the gridiron. In a dark weight room, a woman grins broadly as she slaps her hands together in a cloud of athletic chalk. NBA star Carmelo Anthony sits, head cocked, eyes closed in the soft light, as a barber steadies his clippers for a last adjustment.

Although he has worked with clients as diverse as Bank of America, Degree deodorant and Pepsi, Smith is perhaps best known for his work with Nike. He has several Jordan Brand commissions under his belt—including images for Carmelo Anthony’s M9 sneaker and the 2012 Summer Olympics Rise Above and Men’s Basketball campaigns—in addition to projects for Nike Football. His unique approach to sports photography generated a groundswell of attention on social media, and to his credit, once Smith got the ball, he didn’t stop running.

Bill Sager, design director at San Diego–based ad agency VITRO, worked closely with Smith on a shoot for ASICS footwear. “We found Marcus through his online portfolio, which is an impressive amount of work within a short period,” Sager explains. “We were striving to tell a more authentic story,” he recalls, “and here was Marcus capturing moments that are not your traditional hero shots—like a high school football practice—and making it cool and interesting.”

Smith grew up on Chicago’s South Side, specifically the South Shore, a lowermiddle-class, predominantly African American neighborhood on the city’s lakefront. He was raised in a single-parent home by his mother, Ida Brown, who runs a community-based nonprofit in the city. Although he came to photography later than most in his profession, Smith always had an affinity for art. A childhood love of drawing became his first creative passion, and Smith was determined to master it.

“My mom used to babysit this older kid when I was little, and he was really good at drawing,” Smith remembers. “He could draw comic book characters, he could draw photorealistically, just on another level. So I would try to draw the same way and get upset to the point of crying when I couldn’t.” Instead of giving up, Smith pushed himself to get better. That competitive drive would prove a constant in Smith’s life. Whether drawing, playing basketball or making music, he would

Right: “I’m an only child and grew up feeling very close to my mom. Like any other overprotective mom, she forbade me to play football, though I always wanted to. This personal project was my way of living out that childhood dream of playing under the Friday night lights. This particular kid had just run about 90 yards, scoring a touchdown in the process. The shot obviously captures tons of expression, but my favorite part is the guy to the right yelling in his ear while he’s trying to catch his breath.”

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MARCUS SMITH

Still, it wasn’t until Smith was a student at the University of Illinois that he unexpectedly found his true muse. A friend passed him a pirated version of Photoshop, but the more he tinkered with the program, the more unsatisfied his inner perfectionist grew. Not content with manipulating other people’s images, Smith dug up a cheap digital camera and started making his own.

It didn’t take long for him to realize that he would need a better camera if he wanted to shoot anything worthwhile.

With his 21st birthday approaching, he let his mother know that he had his heart set on a Nikon D40, but she told him she couldn’t afford it. Chastened, Smith let it go, but when his birthday arrived, so did the Nikon.

“I started taking pictures of my friends, shoes, everything,” Smith says. “It was pretty much a rabbit hole from there.”

Eventually, people outside of his immediate circle began to contact him after seeing his work on Facebook, mostly independent local musicians who wanted promotional photographs taken. Smith was pleasantly surprised to make a little money, but still considered photography a hobby, not a “real” career.

And with graduation looming, it was time to think more seriously about what he was going to do with his degree in business economics. Smith secured an interview with Procter & Gamble, who flew him to corporate headquarters in Cincinnati. His first host on the trip was a longtime employee who told him she had intended to move on and become a wedding planner. However, she had found it such a rewarding place to work that she never left. Coincidentally, his host the next day was a younger employee who confessed that although she liked her job, she really just wanted to save money to become an event planner. “I was thinking, ‘I probably just met the future me yesterday,’” Smith says with a laugh, “and ‘Will I still be working here when I’m 40?’

By the time I had the interview I was like, damn this—I don’t want to work in a cubicle for 25 years.”

Smith knew what he didn’t want to do, but he was no closer to figuring out how photography could provide him with the type of income he desired. Lacking any sort of mentors in the field, he was feeling lost, and then his mother again came to his aid. When Smith confided in her that he was thinking about going to school for photography, her response was unequivocal: go for it. “I told him to follow his heart,” Brown recalls when I reach her by phone, “because you can’t

live life in fear. You cannot be afraid to try, you cannot be afraid to fail and, most importantly, you cannot be afraid to succeed.”

Ever the pragmatist, Smith chose to attend the Hallmark Institute of Photography in Western Massachusetts because it focused exclusively on photography and offered a ten-month certificate program. Not long after his enrollment, he had the opportunity to meet one of the photographers he admired most, Gary Land, who was on campus as a guest speaker. He and Smith had an easy rapport and stayed in touch afterward, with Smith welcoming the opportunity to show Land his work. Eventually, Land invited Smith along on a shoot for Gillette/NASCAR. Determined to do more than simply observe, Smith made himself useful on set; whether troubleshooting a recalcitrant computer or carrying equipment for people, he kept his eyes open and hands busy. By the time the gig was over and he was heading back to school, Land told him that if he wanted a job when he graduated, there would be one waiting for him in Boston. © Paul Elledge

throw himself obsessively into his pursuits.

“I like to be good—not just kinda good—and if I am around someone who is better than I am at something, I use that as motivation.”

Whereas he attributes his work ethic to his mom, Smith credits his time as Gary Land’s assistant with giving him the tools to succeed in commercial photography. “Working with Gary was my introduction into the business of advertising photography,” Smith explains. “It wasn’t really the technical [aspects] I learned, it was how to interact with people, what clients are expecting, and how to go above and beyond to make clients happy.” For two and a half years, Smith worked as Land’s assistant, but he knew it was time to move on when he found himself thinking more about how to be a better photographer than about how to be a better assistant.

When deciding to strike out on his own, Smith applied another lesson he learned from Land: always have personal projects, because they often set the stage for paid work. After moving back to Chicago, Smith noted the buzz surrounding his neighborhood high school basketball team and its shining star, future NBA lottery pick Jabari Parker. Determined as ever, Smith worked every connection he had to put himself in front of the Simeon Career Academy’s varsity coach and ask for permission to shoot the team. The coach agreed to ask the team and let them decide. A few days later, Smith heard back—and the same team that had said “no” to ESPN said “yes” to Marcus Smith. The opportunity was another turning point in Smith’s career. He turned the photographs into a personal Tumblr project before underwriting a short run of books, which he then sent out to contacts at advertising agencies—relationships established during his apprenticeship with Land. A few months later, he got a phone call from someone at Nike’s Jordan Brand with the offer of

Right: “This was my second project for Nike’s Jordan Brand and the first time I got to work with celebrity talent—so I was a little nervous. Previously, I had taken over their Instagram account during the Summer Olympics, and I remember getting the call saying they may want me to shoot Carmelo Anthony alongside video for his new shoe. I was super excited! During the shoot, they were also filming footage for the commercial and online documentary, and these images were taken for display on a giant wall in the Harlem House of Hoops.” Jeremy Wirth, art director; AKQA, ad agency; Jordan Brand, client.

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MARCUS SMITH a summer-long gig running the company’s Instagram account. Smith jumped at the chance and hasn’t looked down since.

The Jordan Brand project led to more work with Nike and, after saving some money, Smith redesigned his logo, put together a book of his high school basketball images and purchased a slot at NYCFotoWorks for his first portfolio review. The response was overwhelmingly positive, and Smith started hunting for an agent, eventually signing with Candace Gelman & Associates in September 2013. Since then, the pace has been, by his own admission, “insane, in a good way.”

When I ask Gelman what she thinks has led to his meteoric rise, she says, “Marcus is a very hard worker, and he is extremely talented beyond his years. His work gets noticed because it stands out—he has a style that is unique, real and believable.” She adds, “He is great with people and really great at capturing shots when no one even knows he is shooting.”

Wandering through Chicago’s Millennium Park on a gorgeous Saturday, Smith indulges my inner fan and points out Chicago Bears wideout Brandon Marshall’s penthouse on the skyline. He had been there recently

This page: “This project for Powerade is a testament to how personal work drives the work you later get hired for. The concept was loosely based on my personal work documenting high school football. Licensing and copyright issues prevented us from using actual high school players, so our goal was to make a cast team appear as real as possible. We took them through a real, grimy football workout while I captured authentic moments like a fly on the wall.” Chris Larson, art director; Rob Lewis, writer; Wieden+Kennedy, ad agency; Powerade, client.

“These shots of Chicago Bears’ wide receiver Brandon Marshall took place at Brandon’s condo. I had no idea what his place would look like, so there was no real way to prepare. The first thing Brandon asked was how fast we could finish shooting. I told him, ‘Give me 40 minutes,’ and he loved that answer. Within that time, I banged out nearly seven different setups around his condo, inside and out. He had just moved in two weeks prior, so there was almost no furniture, which worked out perfectly because it enabled me to use every single inch of his place. The shoot turned out great, and everyone was happy!” Nick Galac, photo editor; ESPN The Magazine, client.

Right: “I was hired by Runner’s World magazine to document the grueling Seroogy’s Valentine’s Day Run held annually in De Pere, Wisconsin. It must’ve been about –7 degrees outside during this race, and I thought the runners were absolutely insane for competing in this weather. Several runners passed by with their entire beards frozen from sweat. This young lady crossed the finish line, and I remember thinking how beautiful the ice looked on her face, so I raced over to photograph her while she caught her breath.” Renee Keith, photo editor; Runner’s World, client.

“As an avid basketball fan, this Nike project was really a dream come true: I got to sit on the floor and shoot pictures of the best basketball players in the world. I definitely used this one to brag to my friends at home. This shot of LeBron James, taken at the World Basketball Festival in Washington, DC, before Team USA headed to London, is one of my favorites.” James Robinson, Blast Radius, art director; Blast Radius, ad agency; Nike Basketball, client.

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MARCUS SMITH to shoot a feature for ESPN The Magazine that I will see a week later at random, by which time he already will have returned from another assignment, in California.

Smith is a working photographer in every sense of the phrase.

A higher profile has meant more big-budget projects that resemble small movie sets, with multiple trailers, wardrobe, assistants, stylists and casting. Smith estimates that, at his level, 75 percent of the job is logistics: finding the best location, determining how many shots are needed and how many days the client can afford, and staying organized are all key. One of the things Smith feels sets him apart is his ability to create unique, personal work no matter what is happening behind the scenes.

It’s hard to spend time with Marcus Smith and not come away impressed by his rare combination of artistic maturity and business acumen. He attributes those qualities to an unsurprising source: “I am truly my mother’s son; that’s where I get my work ethic from, that’s who influenced me to think, not just artistically, but also to be business-minded,” he says.

“She would always say, ‘There is a difference between being smart and being intelligent. Being intelligent means knowing how to take what you know and put it into action.’” ca

This page: “This shoot for Saucony’s Spring/Summer collection was pretty hectic, as we had a lot to accomplish in only three days—80–100 shots, or something insane like that. The goal was to capture images that felt authentic, but still had a stylistic flair that made the garments look good. We hit several locations around the San Diego area shooting guerrilla-style, just jumping from spot to spot. We all had fun on this one, but were completely dead by the end.” Chad Nauta, art director; Gil Muinos, writer; Olson Advertising, ad agency; Saucony, client.

“This was my first shoot that spanned multiple cities. In a little over a week, I must’ve taken ten flights between New York, Chicago, Boston, Miami, Washington, DC, and North Carolina, photographing players from each city to benefit a hunger initiative sponsored by Bank of America in partnership with the NFL. The shoots themselves were not very difficult. The tough part was dealing with the logistics of the ever-changing schedules of several professional athletes all at once.” Mike Mancuso, art director; Hill Holliday, ad agency; Bank of America, client.

Right: “My most memorable shoot yet. It was originally planned as a two-day project, with one day in the studio and the other on location at a soccer pitch. On the first day, we kept getting news that a bad thunderstorm was on its way. In a ballsy move, everyone decided it would be best to shoot that same night instead of risking being hit by the storm. We ended up shooting until 4 a.m., which is probably when these images were taken. These shots alone made the night worth it!” Asan Aslam, art director; GREY, ad agency; Gillette, client.

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BY SUE APFELBAUM

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ode and Theory occupies the space at Broadway and Prince Street in New York that was formerly inhabited

by Interview, the publication Andy Warhol founded 45 years ago. There’s a certain serendipity to the fact that the thirteen-year-old creative agency that has redesigned the legendary magazine’s online presence—twice to date—has since taken over its physical one. In early 2012, the two companies agreeably swapped their SoHo offices, with Code and Theory now presiding over several of Interview’s Warhol silkscreens, including a series of Mao portraits, and a stately library filled with volumes of art and fashion books. Code and Theory is growing at such a pace that the 200-person interaction design and branding firm, with satellite offices in San Francisco, London and Manila, is looking for even more space in the building.

While publishers and media companies struggle to keep up, let alone innovate, in the face of rapid technological change, for Code and Theory’s nimble, creative-thinking brand strategists, storytellers, designers and developers—who’ve crafted editorial sites for The Daily Beast, Vogue and the Los Angeles Times and content-driven campaigns for brands such as Dr Pepper and Maybelline—it’s nothing but green lights.

In early 2013, the company launched an industrial design division to move beyond just interfaces and into the design of the devices themselves. Code and Theory learned sooner than the rest of the world that publishers are brands, and brands are the new publishers. Both are now in the business of creating and distributing content, and Code and Theory has the means to serve them both.

The masterminds behind Code and Theory’s surging success are its co-founders, Brandon Ralph, creative director, and Dan Gardner, director of user experience, and its managing partners, Steve Baer, heading brand strategy, and Mike Treff, directing product development. “We’re different because we’re set up to do brand and product under one roof, and 40 percent of our company is engineers,” says Ralph. “We’re really thinking about how to solve creative problems for our clients, and we consider our engineers to be part of that discussion. They are involved in the first meetings and all the way through, which I think makes us very unique.”

Code and Theory’s foundation formed in the least tech-y of places: at sleepaway camp in Cold Spring, New York, where Gardner and Ralph met as bunkmates. Born in the same hospital just three days apart, the childhood friends might as well have known each other since birth, and they talk with the familiarity of brothers. “Really, we started our first company when we were seven,” jokes Gardner. “We just had to wait for computers,” adds Ralph.

Though they attended different high schools around Northport, Long Island, Ralph would skip his own to attend art classes at Gardner’s, where students had access to Macs and a digital camera. They both gravitated toward art and design in those early days of the web. When they graduated, in 1997, Flash had just come out, and the interactive software’s graphics and animation capabilities showed them what was possible when art and code merged. “That’s what launched us more into programming,” says Ralph.

Ralph studied briefly at New York University, but dropped out during his sophomore year to work full time as a web designer for a boutique agency. “I felt I could learn everything tactical myself—I just needed a job to put it all into practice,” he says. Gardner, by contrast, earned a BFA at the University at Buffalo. One of his roommates was a computer science major who inspired Gardner’s thinking about making visual things interesting through the use of programming and technology. At the start of 2001, Gardner and Ralph were reunited at Draft Worldwide, working together as two of the ad agency’s first hires for its fledgling interactive department.

At Draft the pair crafted interactive campaigns for top brands such as American Express, Macy’s and Maserati, and by August of that year they were eager to go out on their own.

The first job that put Code and Theory on the map was a music site it created in 2003 for Sony VIP Classical that featured one of the first Flash video players. When macromedia.com (now adobe.com) spotlighted the work on its front page, requests poured in for custom video players from cable giant Comcast and streaming video software and hosting service Brightcove, among others. “That was when we got into the real business of bigger problem solving and innovation,” says Gardner.

Captions were supplied by Code and Theory.

Right: “Founded in 1969 by Andy Warhol, Interview magazine features conversations between some of the most creative minds in fashion, art and entertainment. In 2012, we began our second redesign of interviewmagazine.com and explored ways to monetize traffic across all sections of the site, yet create a typographically considered, image-driven experience that maintains a glossy, high-fashion feel.” Stephane Elbaz, design director; Brandon Ralph, executive creative director; Joseph Jorgensen, technology director; Ryan Zimberg, senior producer; Brant Publications, client.

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CODE AND THEORY

© Conway Liao

and deep pool: you can float to the top or touch the left wall for support (navigation), but there’s no floor or right wall to be found, just continuous streams of content large and small. “We call it a transporter,” says Gardner. “Say you come to an article page and it’s about business, so then you can move into the business This page: (from left) Code and Theory co-founders Dan Gardner and Brandon Ralph; managing partners section or into another article, Mike Treff and Steve Baer (product design group). if there’s a contextual relationship there. It’s a newspaper, so stories unfold. You want to create those connections to One such problem-solving project was charlierose.com. make it easier for a reader.”

Google Videos and Charlie Rose partnered with Code and Theory to present the PBS talk show host’s extensive archives It’s no surprise that the new design de-emphasizes the online. From designing the custom content management importance of the front-page experience—increasingly an system (CMS) to figuring out how to present 4,000 hours of article forms the reader’s first impression. The Los Angeles free programming in digestible, searchable segments, Code Times did raise eyebrows, however, by introducing bulleted and Theory earned accolades for its unprecedented work “sharelines,” tweetable summaries positioned before the with such a massive video library. And because of what reader sees the lead. In response, Harvard’s Nieman they had learned about “publishing a lot of content into a Journalism Lab blogged about it with the snarky headline: stream and differentiating that from brand to brand,” says “The new L.A. Times redesign would like to write that Ralph, they later worked with just about every Viacom tweet for you, thank you very much.” In many ways, it’s an acknowledgment that readers don’t necessarily read before network, including launching VICE’s VBS.tv. they tweet. It also turns out there is a precedent for it. As the Publishing clients with their own complex content needs deputy managing editor pointed out in a tweet of her own came calling, too. In 2008, Code and Theory launched The (and with a scan from the archives to prove it), sharelines Daily Beast, an aggregated news platform by Tina Brown, appeared in the newspaper as far back as January 1910, former editor of Vanity Fair and The New Yorker. That year demonstrating that the desire for talking points long the firm also completed the first of two redesigns for both predates today’s social media. interviewmagazine.com and vogue.com. Working with “A lot of what we do [in editorial design] is influenced by established titles such as Variety and Ebony and newer ones print,” acknowledges Gardner. “Stuff like pull quotes, clean such as DuJour and Nautilus, Code and Theory has had a pages, don’t overload the design—these are just best hand in the lion’s share of editorial media space, not only practices that have been in the print world forever. We’ll for magazines, but also for tech blogs with a magazine feel, take a digital perspective on it and add other interactions such as Vox Media’s The Verge, Engadget and Mashable. It and animations that help foster meaning.” was only a matter of time before Code and Theory would Code and Theory also aims to have an impact behind the take on the ultimate publishing challenge: redesigning the scenes, in ways that the user doesn’t see. “We want to really website of a newspaper. think through the system change of what design can do for The new, responsive latimes.com launched in May 2014, the an organization: from how they lay out their space to result of eight months of research and UX and visual design communicate with each other to how they publish things

by Code and Theory with additional months of back- and into a CMS, what engagement tools are there and how it front-end development by the Los Angeles Times’ in-house affects the user at different times of day,” says Gardner. engineers. Code and Theory embedded designers in more And its brand clients? Code and Theory helps them become than 40 of the paper’s newsrooms to learn how stories get better storytellers and listeners—in other words, more like produced and to find ways to improve behind-the-scenes publishers. “We’ve had content strategists who worked on communication and operations. “The solutions we’re giving the Los Angeles Times also work on the content strategy for our clients really require them to rethink how they do their Maybelline’s CITY, which is a ‘blog-azine,’” says Baer, the brand work,” says Treff. “We try to provide solutions where the design group director. “We’ll facilitate a 20-minute newsroom annuity is in the system, so you don’t have to rip it out three meeting every morning when we ask all the community years later and start over.” managers, writers, strategists, data people, ‘What’s trendIn addition to being fully responsive, the latimes.com design ing on BuzzFeed? Who’s on SNL in two weeks?’ And they throw is ever expansive. It’s analogous to swimming in a very long ideas out. It’s this collaborative process.”

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This page: “The Los Angeles Times has been Southern California’s leading source of news and information for more than 130 years. In 2012, the Times recognized that more people were consuming latimes.com via mobile devices than ever before. We were brought in to stimulate their thinking about how design and technology could work together to best engage contemporary audiences and serve advertisers. At launch, the redesigned latimes.com introduced a new standard for digital news delivery. One of the largest fully responsive news sites ever built, the site is a visually striking, bold design that disrupts the traditional page grid, eliminates clutter and puts the focus on multimedia and the unique voices of its marquee journalism.” Michelle Alvarez, designer; James Taylor, user experience designer; Stephane Elbaz, design director; Dan Gardner, executive creative director; Rebecca Ackermann/ Matt Chmiel, strategists; Silvan Reinhold, technical lead; Vince Quilici, director; Mike Treff, executive director; Los Angeles Times, client.

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CODE AND THEORY Brand atomization is the term Baer likes to use for how his teams approach content. “The ad agency will come up with this big ‘shouting from the rooftop’ message of what the brand is. And then we take that as a cue to build content across the ecosystem,” he explains. In the example of longtime client Dr Pepper, his team identified the soft drink’s fans on Reddit and built a quick campaign around the people who use Dr Pepper as a cooking ingredient.

“People who cook with Dr Pepper are a microcosm, but when they talk about it, they go freaking crazy,” Baer says. “So we did a show called ‘Cooking with Dr Pepper,’ this one-minute video of people cooking and showing you recipes. That’s such a micro insight within a micro group, but we can create this stuff quickly. We have people to make it and who make it beautifully, so that’s a big part of it, too. We’re not a social agency, but social is the baseline for everything we do.”

This page: “In 2012, Maybelline New York came to us with a singular goal: give the brand a voice. And so, Maybelline CITY, a modular ‘blogazine’ with monthly themes, was born. From ‘Off the Cuff’ to ‘Posed,’ our monthly series brings together influencers with ‘It’ team members like Erin Wasson, Louise Roe and Gabriel Almodovar. Video features are augmented with interactive editorial content like ‘It Girl’ and ‘The Verdict.’ Each module was designed to reinforce trend authority while showcasing the CITY lifestyle. Today, CITY has redefined the brand and converted visitors to buyers.” Kat Chan, art director; Vicen Akina, designer; Chenta Yu, design director; Mila Golubov, associate creative director; Sal Barone, creative director; Brandon Ralph, executive creative director; Kelly Meyers, strategist; David Whitely, senior developer; Matthew Steedman, developer; Brian Schwartz, technical lead; Jill Silberstein, senior content coordinator; Steve Baer, executive director; Lyndsay Elkins, executive producer; Kaitlyn Brenner, project director; Maybelline New York, client.

Right: “In early 2013, a group of editors and producers from NBC, Nature, Discover, Psychology Today and Palgrave Macmillan decided to launch Nautilus, a new kind of science magazine that makes complex scientific topics accessible to the masses. Our site design promotes exploration and discovery by extending the narrative of Nautilus’s visceral content through photo-rich essays and pathways that bridge topics, themes and issue-based content. Since the launch, nautil.us has won numerous awards, including the Society for News Design’s World’s Best Designed Site, a Webby Award for Best Science Website and a FOLIO: Eddie & Ozzie Award for Best Site Design.” Jillian Hobbs, designer; Ruben Sun, user experience designer; Anthony Besada, user experience director; Robin Man, creative director; Andrew Bergal, technology director; Mike Treff, executive director; Ben Smit, senior producer; Nautilus, client.

“The new gqmagazine.fr offers its visitors a modernized aesthetic, an ergonomic user experience, and a digital framework to showcase new and archived content seamlessly. All pages expose readers to the breadth of the magazine’s content and can be customized to package diverse content together or side by side. The site’s enhanced flexibility allows readers to seamlessly scroll from one section or article to the next, making it easier than ever to serendipitously discover related content with minimal effort.” Badrul Rupak, art director; Stephane Elbaz, design director; Brandon Ralph, executive creative director; Christopher Hall, strategist; Ben Smit, senior producer; Condé Nast International, client.

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CODE AND THEORY Code and Theory has proven it can help brands be better publishers and help publishers be better brands. As its industrial design group delves into bridging the physical and digital experiences, the company’s story is like the web-page transporter— no end in sight. “One of our mantras is, we only want to be limited by our own creativity,” says Ralph. “So much of what we do in this world is driven by technology and what is possible. We think anything is possible.” ca

This page: “One-of-a-Kind Productions is an online content series designed to bring Dr Pepper’s brand belief to life. The idea was to have celebrities who are genuine lovers of the brand tell their stories. We listened in on social channels to identify true ‘Peppers,’ from fashionista Leandra Medine to skateboarder Mike Mo Capaldi. Our story about die-hard Dr Pepper fan Justin Tucker of the Baltimore Ravens—the star kicker who can also sing opera in seven languages—sparked a media frenzy when it aired, racking up 96 million impressions.” Terry Newman, art director; David Shin, writer; Brad Dixon, creative director; Brandon Ralph, executive creative director; Brian Austin/Saeid Vahidi, strategists; Anthony Bovasso, technology director; Jill Silberstein, senior content coordinator; Steve Baer, executive director; Jessica Danner/Remya Rajagopalan, producers; Alexis Dorenter, project director; Dr Pepper Snapple Group, client.

“In 2013, Finlandia Vodka debuted a global campaign inspiring consumers to toast the less-ordinary aspects of life. Our challenge was to create an online experience that was accessible across all desktop, tablet and mobile browsers, without sacrificing the visually immersive story we wanted to tell. We were provided with photography by Wieden+Kennedy London, and we also had a photographer on the ground in Finland who shot custom imagery for the site. The final design features subtle details to surprise and delight every visitor and is a simple, clean, dynamic scrolling experience that breaks down all traditional notions of a global beverage brand site.” Nick Francis, writer; Sune Matras, user experience designer; Chris Delia, design director; Michelle Spivak, associate creative director; Brad Dixon, creative director; Brandon Ralph, executive creative director; Richard Lehmann, senior developer; Aaron Hitchcock/Anthony Paparella/Nils Stolpe, developers; Anthony Bovasso, technology director; Steve Baer, executive director; Ryan O’Rourk, producer; Katie Resch, project director; Brown-Forman Corp., client.

Right: “In 2012, Jason Binn and the Gilt Groupe decided to create the ultimate luxury lifestyle magazine for affluent tastemakers.

The goal: establish DuJour as a cultural force by combining print magazine design quality with an adaptive publishing model.

Working side by side with Binn, we embarked on designing a digital experience as the first print issue of DuJour was being created. Rather than create separate experiences for print, iPad and the web, we developed a single-view site that could comfortably house print editorial, advertising and photo galleries. By eliminating verticals, simplifying navigation and putting visual content at the forefront, we created a stunning online magazine experience that was as enjoyable as reading a print issue.” Chenta Yu, design director; Brandon Ralph, executive creative director; Lydia Wagner, developer; Joseph Jorgensen, technology director; Ben Smit, senior producer; DuJour Media Group, client.

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TYLER JACOBSON FANTASY MAN

By Claire Sykes

D

riving down quiet, maple-tree-lined streets, I pass cul-de-sacs and kids playing in driveways and pull up in front of artist Tyler Jacobson’s newly built home. Who would guess that inside, a two-headed he-man monster with tusks and a belt of skulls stomps in a rage?

The dark-haired, bearded Jacobson, 32, greets me at the door wearing blue jeans and a NASA Apollo T-shirt, along with the barking Arya and Sansa, friendly Heeler mixes that he and his wife, Devon, named after the Stark sisters in Game of Thrones. Here on the edge of Olympia, Washington, just an hour south of Seattle, I step into a world that clearly worships the fantastic. Upstairs in Jacobson’s one-room work studio, the swords on the wall look real, but he tells me they’re replicas from Lord of the Rings. His paintings—action scenes from Star Wars and Moby-Dick—nearly leap from their frames, a classical guitar leans beside a bookcase of history and science titles, and on a shelf near the window stands a model of human anatomy.

And that two-headed monster? On Jacobson’s computer, it joins giant-tentacled sea creatures, armored warriors charging through flames, and other characters from fantasy tabletop and trading-card games. Formerly painted with oils and now produced digitally, his illustrations are almost believable in their rendering.

Other of his images—commissioned portraits and art for advertising, magazine articles and pulp-fiction-like book covers—include people and places that could really exist. And many do.

Working at this professionally only since 2009, Jacobson is best known as an illustrator, primarily of fantasy, but also of sci-fi and realism. He is offered many more assignments than he takes, mostly from the fantasy game company Wizards of the Coast, his first big—and still major—client. His character designs and artwork for Dungeons & Dragons (D&D) and Magic: The Gathering appear frequently on trading cards, packaging and promotional materials aimed at D&D enthusiasts.

His illustrations also appear in print and online for Rolling Stone, The New Yorker, Entertainment Weekly, Scientific American, Tor Books and Simon & Schuster, among others. In 2010, he received the Jack Gaughan Award for Best Emerging Artist, and two years later he was named gold winner of the Spectrum 19 Advertising Award, for Talon of Umberlee (D&D).

Scary, grim monsters fascinate this mild-mannered man, who says, “I’m not sure what draws me to them, but it’s exciting,” as is fantasy and sci-fi in general for Jacobson. “Whole universes are created; anything can happen. As an artist, it gives me lots of freedom to make up anything.”

Right: “Perplexing Chimera was a commission for the trading card game set Magic: The Gathering: Journey into Nyx. The challenge in this image was showing the star field, which is a magical effect in the game. The darker, shadowy areas in the image provided the opportunity to bring the effect across.” Jeremy Jarvis, art director; Wizards of the Coast, client.

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TYLER JACOBSON Jacobson did that a lot as a child, reading Tolkien and picturing “the rich tapestry of details in those worlds,” he says, and drawing on the backs of paper placemats in restaurants and in his notebook during class. When his older brother got into Magic and D&D, he did also, as well as Warhammer 40,000. “But I was really looking at the cool art in the books and on the cards, and that got me excited about doing art, too.” So did Jim Henson movies, like Labyrinth and The Dark Crystal. “At the time, I was just doodling, of course,” he says.

But not for long. His parents sent him to weekend community art classes wherever the family lived. His father was a Coast Guard medical officer, and the family had to move every few years—from Oakland, California, where Jacobson was born, to Nevada, Connecticut, Illinois, Washington and back to the Bay Area, where he went to high school and took every art course he could. “But I didn’t think I could do art as a profession.”

Instead he considered biology his only option for “a real job” that might hold his interest. In his younger years, he had played “scientist” at his aunt and uncle’s marine-life labs, peering through a microscope at parasites in the digestive tracts of mice and fish. “I remember being fascinated about what could be found in their systems and how it could give clues about their environments in the ocean.” So he started with biology at Gonzaga University, in Spokane, Washington.

“It was fun, but chemistry was too difficult, so I dropped the major and went to art. I was always good at it, so, I thought, I might as well focus on it.” He took everything, from drawing and painting to printmaking and ceramics, and found that more than anything else, his art kept telling stories, especially with oils. “I was thinking that I had to figure out a way to become a fine artist, and if I couldn’t make it, I could always teach.”

After applying to several art schools around the country, Jacobson took his 2005 BA in fine art and minor in ancient history to the Academy of Art University (AAU) in San Francisco for an MFA. “They had illustration, but I was ignorant about what that really was.” That is, until he met Bill Maughan, then director of AAU’s master’s programs in fine art and traditional illustration. Maughan became a huge influence in Jacobson’s career. “He understood that artists need a well-rounded skill set in landscape, portrait and figure

painting and in atmospheric perspective, anatomy and narrative storytelling,” he says.

Jacobson’s absorption and growing mastery of these skills became evident in his thesis work—oil-painted illustrations of tragic literary figures like Captain Ahab, Beowulf and Macbeth exhibited at the annual AAU Spring Show in 2009.

He earned two awards that night, including Best of Show, and received his first introductions to industry VIPs, who seek out the best and brightest student talent at the show each year. Two of the VIPs he met were Irene Gallo of Tor Books and artist’s representative Richard Solomon. Solomon, seeing great promise in the young illustrator, invited Jacobson to sign on with his agency. Solomon says, “Tyler was already fully formed, ready to go straight to the major leagues. He had his own point of view, understood lighting and drama, and instinctively knew what to do.”

Upon graduation a few months later, Jacobson accepted Solomon’s offer and received an enviable first assignment from Wizards of the Coast creative director Jon Schindehette, who had learned of his work from Gallo. Schindehette recalls, “I just loved the visual narrative and old-masters feel he was bringing to his images.” That first project—a few illustrations for D&D’s e-publication Dragon magazine—sparked Jacobson’s favorable five-year relationship with Wizards of the Coast, manifesting a profession that began as a childhood passion for D&D art. Kate Irwin, art director at Wizards, says, “Aside from his artistic talents, Tyler always meets his deadlines.

He’s a great person to work with, a great collaborator.”

Over time, Jacobson’s technique evolved from painting with oils to working with digital tools. With the former, he says, “I couldn’t work quickly enough for all the jobs I was getting at Wizards of the Coast. Game art production is pretty fastpaced.” One of his last oil paintings, The Last Days of the Comanches, appeared in Texas Monthly in 2010. He says that back then, he’d “photograph or scan the paintings and digitally add details or make corrections. Now it’s all done in Photoshop.”

After receiving client direction, Jacobson dashes out thumbnail sketches with his Wacom digital drawing tablet and then spends a couple of weeks drawing tight versions in his home studio while film soundtracks, like Daft Punk’s TRON: Legacy, blast. Another computer screen and open books might show pictures of a bat or an ancient weapon, his references for a dragon or a futuristic warrior. Realistic details matter to Jacobson, whose scientific side wants to get them just right.

Right: “I created this personal piece to commemorate the 50th anniversary of the first man in space (April 12, 2011). I really enjoy the history of space travel and had wanted to do this for a long time.”

“One of my first editorial commissions, this illustration was for an article discussing the advantages of higher education in the then-current economy.

This sort of imagery presented a big challenge for me, but I had a lot of fun designing the umbrella.” Mark Shafer, art director; The Federal Reserve Bank of Minneapolis, client.

“This 36- by 24-inch oil painting was completed as part of my masters thesis at the Academy of Art University. It depicts Captain Ahab’s final moments in the novel Moby-Dick. I really wanted to capture the chaos of the moment as Ahab meets his death against the whale that crippled him.”

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TYLER JACOBSON “Creatures—especially those that don’t really exist—should still function on somewhat of an Earth-like place. For example, the anatomy of its wings must really let it fly,” he says. “And I consider, very strongly, how armor is fitted to people and how it allows them to move in combat. I want it to at least appear feasible.” That’s where Jacobson’s many books on armor from all different historical periods, back to ancient times, come in handy.

With the client’s approval, he starts the final image using customized Photoshop brushes, which mimic the effects of his oil paintings. “In any illustration, the challenge is suggesting the movement of the scene,” he says. “Contrasts of light and dark and hot and cool colors right next to each other focus the viewer’s attention. With lighting, I can dictate the composition and guide the eye through the image, then color comes in last.

All of this tells the story.”

So do details. “Embellishments play heavily into Magic and D&D,” he continues. “They become the identifying features for all the tools, weapons, armor and clothing crafted by the different races.” Jacobson’s inclusion of other cultural elements, such as Maori-like tattoos and an Arctic people’s furs, provide familiarity for viewers. As Schindehette puts it, “He always tries to have touchstones that are recognizable so his worlds don’t feel so alien.”

Jacobson takes the time to personalize his characters to further engage viewers in the stories. Says Irwin, “Some big, monstrous guy is slouched over or has a haunted look in his

This page: “An illustration for the cover of B.R. Haga’s book Scoundrel in the Thick. This was the first novel of a series, and the author requested an iconic hero’s pose for his central character. I have him looking out into the distance and used dramatic colors to entice people to pick it up off the shelves.”

B.R. Haga, writer; Sporting Culture Press, client.

“Cover illustration for a reissue of the sci-fi novel Forerunner by Andre Norton.

I enjoy doing portraits of fantasy characters, so I was thrilled when this project came along. The unique black skin presented a bit of a challenge, but the result was striking.” Irene Gallo, art director; Tor Books, client.

Right: “This project was very exciting—it isn’t every day that you get to paint a poster for a Bollywood film! The image needed to accommodate the film’s title, Son of Sardaar, so I designed all the flying figures in an arch over the sun to work around the logotype.” Rahul Nanda, art director; H-One, client.

“Richard Solomon asked several of his artists to create a portrait of ‘Our Person of the Year,’ Burmese freedom fighter and humanitarian Aung San Suu Kyi. I hadn’t done an image in oils in a while, so it was nice to get back into the medium.” Richard Solomon, art director; Richard Solomon Artists Representative, LLC, client.

“An illustration to accompany a Scientific American article about the humans who migrated to the American continents more than 15,000 years ago. This project was unique in that I had to work with a number of archaeological experts and scientists to ensure that the figures accurately represented humans from that time period. It was a challenge, but we got it right in the end.” Michael Mrak, art director; Scientific American, client.

“I had a number of ideas for this paperback cover of A Crown of Swords, from Robert Jordan’s The Wheel of Time series, but art director Irene Gallo and I arrived at something more cinematic and revealing. The biggest challenge was establishing the necessary depth to make each figure discernable.”

Irene Gallo, art director; Tor Books, client.

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TYLER JACOBSON eyes, so you think there’s more to him than this meathead muscleman. And the women in his fantasy art, you feel like you could talk to them. You can’t art-direct that.” Schindehette also appreciates Jacobson’s versatility: “Tyler understands that different clients reach different consumers. Over the years, he’s gotten a better sense of the fans he’s trying to target. He makes his art directors and clients happy, but also his fans.”

How does Jacobson keep his illustrations fresh so he retains his fans? “I’m always looking at what other illustrators are doing and who they’re working with.

A great resource for that is Spectrum.” Jacobson himself has been featured in Spectrum (since Annual 17), and his work can also be seen on Behance and his rep’s site, richardsolomon.com. “I don’t have to pound the pavement, currently.” But he does keep his own website updated, showcasing two galleries of his work, fantasy and nonfantasy. And postings to his blog discuss his latest jobs and creative process. He urges newbie illustrators to develop a strong look to their work so they can stand out among the sea of other artists, and yet admits he himself is not banking on clients always wanting his work. “Looks change. So does technology, demanding new things. So I’ll need to be flexible,” he says.

Looking ahead, Jacobson also sees a more confident self. “I’d like to get to the point where I know so much about the industry that I can teach others or do a whole project of my own. I would love to create my own fantasy universe and weave its tapestry of culture into a series of illustrations for a book. It would be fun to work on just that for a year,” says Jacobson quietly, his hushed tone suggesting that his constant companions— the stomping monsters and warriors who haunt his suburban home—are listening. ca

This page: “Stone of Tymora (top) was a D&D novel authored by R.A. and Geno Salvatore. This image served as a wraparound cover, so it needed to still tell a bit of a story on the back in addition to showing the central demon figure on the front. I wanted the demon to feel like it was flying out of the book toward the viewer. The Sundering (middle) showcases a lineup of characters from recent novels by prominent D&D authors. I also designed the central figure, aging knight Isteval.

The client needed to have each figure in the image—which appear overlapped—fully painted head-to-toe on its own layer to allow the assets to be used separately for other collateral. This made the piece extremely challenging. The Vampire (bottom) was created for a game box that D&D never released, which was a bit of a letdown. I wanted to draw the viewer into the scene using the doorway, and this ended up being a great solution. The hot line of light is my favorite part of the image.” Mari Kolkowsky/Jon Schindehette, art directors; Wizards of the Coast, client.

Right: “A cover illustration for the Chilean novel Arauco by John Caviglia.

The author served as the primary art director, and it was great working with him because he had an amazing depth of knowledge concerning Chilean history, including its native tribes. He provided many cultural details that I was able to incorporate into the central figure. The lightning in the volcanic cloud is my favorite part.” John Caviglia, writer/publisher.

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© Chris Sheehan

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Streetz American Grill branding “Streetz American Grill is an independent, quick-serve restaurant inspired by famous street food destinations found across the country—places with unique character specializing in local favorites, like Philly cheesesteaks, Coney Island hot dogs and gyros. We crafted the restaurant’s primary identity and signage using colors and typography reminiscent of the signs and ephemera of vintage American eateries, from hot dog stands to burger joints. Streetz began with two locations, in a strip mall and a former diner. Collaborating with Tanek | Architecture Design, we created a branded environment with elements that can be assembled in a variety of configurations depending on location, signage needs and city codes.”

Laura Belle Wright, designer; Alan Colvin, creative director; Tanek | Architecture Design, architect; Cue (Minneapolis, MN), design firm; Streetz American Grill, client.

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María Salinas branding “María Salinas is a custom jewelry design shop in Mexico that offers personalized pieces made from gold, silver, precious and semi-precious stones. María Salinas wanted branding that could express the quality and uniqueness of its custom work and fine attention to detail. Our design uses color and typographic subtraction to convey elegance and classic timelessness. Black and gold bring out the glitz, and the sublimely refined logo evokes highend fashion brands. We also integrated grid patterns throughout the branding and the shop’s interior design to reflect the planning and sketches exchanged with the client in designing each piece.”

Anagrama (San Pedro Garza García, Mexico), design firm; María Salinas, client.

© Juma

We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

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Made With Local packaging “Made With Local is a small business based in Dartmouth, Nova Scotia, that makes homemade granola bars using nutritious local ingredients.

More than just healthy snack bars, Made With Local products tell the story of the Canadian Atlantic farmers and producers that supply their ingredients. When we were approached to design their new packaging, our goal was to create a wrapper that was just as handmade and wholesome as the tasty treat inside. The writing shares a fun story about the ingredients, and the illustrations are all drawn by hand. So far, the response has been amazing in the local community and on a number of international design blogs.”

Pierre Tabbiner, art director; Sarah Riley, writer; Eric Miller, creative director; Impact (Halifax, Canada), ad agency; Made With Local, client.

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Costa Sunglasses film “Project Guyana” 3:30 “Costa, makers of the clearest fishing sunglasses on the planet, asked us to tell the amazing story of its work in Guyana. Our animated film brings the jungle and its people to life in a beautiful way and explains how sport fishing can be a vessel for conservation. With narration by John Corbett, the short film gives credibility to the efforts made in the Rupununi region and aims to inspire others to start sustainable sport fishing businesses run by indigenous people in other parts of the world.”

Lucas Brooking, art director; Jay Grandin, writer/creative director; Lucas Brooking/Jay Grandin, design; Henrique Barone/Jorge Canedo Estrada/ Nicholas Ferreira/Jay Grandin/Shawn Hight/Matt James, animation; John Corbett, voice talent; Ryland Haggis, music composer; Cory Hawthorne, sound design; Leah Nelson, voice over director; Brant Cheetham, producer; Giant Ant (Vancouver, Canada), production company; Costa Sunglasses, client.

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Maxbauer’s Meat Market posters “Maxbauer’s is a neighborhood butcher shop that recently celebrated its 100th anniversary. We created a poster series not only to commemorate the occasion, but also to celebrate the store’s ongoing commitment to what they do and the passion they have for their work. When it comes to meat, Maxbauer’s Market is ‘old school,’ following the time-honored tradition of doing things slowly and deliberately with great care. You can’t hurry quality. The posters were put up around the store and have received very favorable comments.”

James Howe, art director; Karl Bastian, writer/creative director; Andy Wakeman, photographer; PB&J (Traverse City, MI), ad agency; Maxbauer’s Meat Market, client.

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Le Bon Marché installation Le Bon Marché, a famous department store in Paris, puts a lot of emphasis on contemporary art and design. In 2013, the store commissioned Italian artist Lorenzo Petrantoni to create an installation with a specific theme in mind: accessories. Petrantoni, who as an illustrator has worked for Vogue, Vanity Fair and the Guardian, among others, covered the escalators at Le Bon Marché with 23,000 nine- by thirteen-inch sheets of paper featuring his drawings of accessories, such as bags and umbrellas, along with prints from the 19th century and covers of contemporary magazines.

Lorenzo Petrantoni (Milan, Italy), art director/designer/illustrator; Eléna Fertil, Le Bon Marché, client.

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Penny Dreadful promotional film Sky network’s new drama series Penny Dreadful is live action, but when Sky was looking to promote the series through viral videos, the network turned to London-based animation studio Beakus for director Gergely Wootsch’s gothic style. The animated shorts revive characters and images from original penny dreadful books—Dracula, Frankenstein and The Picture of Dorian Gray (shown)—in a hybrid of 2-D and 3-D, with dense, hand-painted textures. The project was completed in just seven hectic weeks (and many late nights), but the production process was surprisingly smooth, and the films have been viewed nearly 20,000 times on Beakus’s Vimeo page alone.

Gergely Wootsch, designer/director; Iria Lopez/Daniela Negrin Ochoa/ Joe Sparkes/Katherine Stevens/Luiz Stockler, animators; Matthew Sweet, voice talent; Marian Mentrup, sound designer; Marc Lamb, integrated production director; Steve Smith, producer; Katie Blake, agency producer; Morwenna Gordon/Tae Mawson, senior integrated producers; John Logan, executive agency producer; Laura Thomas, project manager; Beakus (London, United Kingdom), production company; BSkyB/Sky, clients.

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Buzina Food Truck poster One poster from a series of three. “We had a big task to promote the first food truck in Brazil to specialize in gourmet dishes. We knew we had to show how unique Buzina’s service is. There are all kinds of food trucks, but a food truck that serves rabbit, boar and pheasant? We had to come up with a modern approach, bearing in mind that its main target audience is cool, young professionals looking for something new. Buzina Food Truck is becoming a bigger service, with a business concept well recognized by the audience. Its huge success in Brazil lies in the talent of its two owners, renowned international chefs who decided to create their personal take on street food. The fact that a large number of customers are asking for a poster is also nice.”

Fernanda Fajardo, art director; Patrick Matzenbacher, writer; Fábio Simões, creative director; Ricardo John, chief creative officer; TinCat, illustrator; JWT Brazil (São Paulo, Brazil), ad agency; Buzina Food Truck, client.

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Briggs & Riley print ad “Briggs & Riley is a family-owned luggage company that has been passed down through three generations. The company defined itself to ad agency Marty Weiss and Friends as a ‘sleeping giant’ in the luggage market, with a group of brand loyalists who are nothing short of fanatical. The agency created a campaign to articulate the essence of Briggs & Riley’s highly distinctive brand, which was unveiled to the industry at the 2014 Travel Goods Association show in Phoenix, Arizona. The tagline ‘Engineered for reality. Guaranteed for life.’ speaks to Briggs & Riley’s passion, innovation and craftsmanship, and to the company owner’s belief that owning Briggs & Riley luggage makes you part of their family.

Shown here is an introductory ad for the new BRX collection.”

Andrea D’Aquino, art director; Ron Kanecke, writer; Marty Weiss, creative director; Marty Weiss and Friends (New York, NY), ad agency; Briggs & Riley, client.

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Ball of the Wild poster “A successful tradition for more than 25 years, the Beastly Feast to benefit Zoo Atlanta is the zoo’s largest yearly fundraiser. Our challenge was to find a way to refresh the event’s look and feel so patrons feel like they are attending a completely unique celebration this year. BBDO developed the creative around big, beautiful, stylized images of animals that were ultimately sold to attendees as works of art. Seven different animals were illustrated in seven different environments and applied to signage and posters that were placed all over the zoo. In the event program, all of the animals were layered on top of each other to form one cohesive message: ‘Ball of the Wild, a gathering to celebrate nature, conservation & 125 years of Zoo Atlanta.’ The results were overwhelmingly positive. The new creative approach was described by both employees and attendees as the best design they had ever seen at the Feast.”

Jason Duvall, art director/associate creative director/illustration; Scott Biear, writer; Wil Boudreau, executive creative director; Stephen Mitchell, producer; BBDO Atlanta (Atlanta, GA), ad agency; Zoo Atlanta, client.

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“

Some [entries] made me laugh. Some made me think. Some made me cringe. In the end, the ones that told a compelling story rose to the top.” —Molly Scanlon

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ADVERTISING 2014 ANNUAL

As an industry we are really good at following idea trends. This year, we all fell in line with stunts, hashtags and Twitter. That said, there still are those bright lights that serve as a beacon for all of us.” —Joe Alexander

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CONSUMER MAGAZINE ADS 1 (series) Silvina Guerreiro, art director Hoyt Dwyer, writer Mark Ronquillo, creative director David Corr, executive creative director Rob Feakins, chief creative officer Publicis Kaplan Thaler (New York, NY), ad agency Procter & Gamble, Scope, client

2 Scott Schneider, art director Jason Perdue/Rob Tarry, writers Ian Grais/Chris Staples/Rob Tarry, creative directors Hans Sipma, photographer Tom Pettapiece, typographer Kerry Bhangu, producer Rethink (Toronto, Canada), ad agency BCAA Insurance, client

3 Jose Llompart, art director Anibal Quiñones, writer Ricky Soler, creative director Kenneth Rexach, photographer Oneighty° (Guaynabo, PR), ad agency Ambar Rodriguez, Honda, client

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CONSUMER MAGAZINE ADS 1 (series) Sébastien Boutebel, art director Jean-Laurent Py, writer Andrea Stillacci, creative director Fabrice Robin, photographer Johanna Walrus, art buyer Les Démons/Fred Witzgall, retouchers Luc Wise, strategic planner Capucine Lhermitte, agency producer Herezie (Paris, France), ad agency Christine Djamila Allaf, Innocence in Danger, client

2 (series) Adam Prewozniak, art director Jim Bernardin, writer Brandan Jenkins/Regan Kline/Jason Tisser, associate creative directors Sarah Block, creative director Charley Wickman, executive creative director Susan Credle, chief creative officer Phillip Toledano, photographer Warren Ciabattoni/Jaime McGill/Angela Whitby, planners Donna Variachak, senior producer David Moore/Veronica Puc, executive producers Leo Burnett Chicago (Chicago, IL), ad agency Allstate, client

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CONSUMER MAGAZINE ADS 1 Lisa Mok, art director Matt Fraracci, writer Matt Fraracci/Lisa Mok, associate creative directors Israel Diaz, chief creative officer Anna Bucciarelli/Ben Ren, illustrators Larry Uniac, producer Y&R Toronto (Toronto, Canada), ad agency Jaguar Canada, client

2 Andrew Ho/Katherine Khor, art directors Kevin Joseph/Steve Kyriakou, writers Alex Lim, creative director Farrokh Madon, chief creative officer Chai Guan Teo, Teo Studio, photographer Evan Lim/Kris Tan, The Rabbit Hole, digital imaging Y&R Singapore (Singapore), ad agency Albert Yeo, Infantree Pte Ltd., client

3 (series) Marcelo Henriques, art director Tiago Valadão, writer Guilherme Jahara, executive creative director Marcelo Reis, chief creative officer Stella Crippa/Mauro Moura, art buyers Leo Burnett Tailor Made (São Paulo, Brazil), ad agency Fiat, client

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CONSUMER MAGAZINE ADS 1 Vincent Bernard, art director/photographer Luc Du Sault, writer/creative director Sandie Lafleur, project manager lg2 (Québec, Canada), ad agency Krispy Kernels, client

2 May Chan, art director Fanny Lau/Louie Wen, writers Adrian Lam, creative director Miranda Shing, executive creative director Connie Lo, chief creative officer Dalton M. Ghetti, designer Stephen Cheung, photographer Henry Chan, retoucher Leo Burnett Hong Kong (Hong Kong), ad agency Staedtler, client

3 (series) Yee Sin Heng/Guo Long Zhang, art directors Jody Yeoh, writer Yee Sin Heng (Beijing, China)/Jody Yeoh, creative directors Chee Guan Yue, executive creative director Nuo Ma, photographer Procolor Imaging Pte Ltd., retoucher Kevin Bi, program manager Jane Li, agency producer Grey Group China (Beijing, China), ad agency Nature’s Bounty, Inc., client

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CONSUMER MAGAZINE ADS 1 (series) Jennifer Hicks, art director/illustrator Jessica Mori, writer Andrew Samuel/David Walker, creative directors Tony Hurley, photographer Lisa Blackburn, graphic artist Mike Krafczyk, project manager Saint Bernadine Mission Communications Inc. (Vancouver, Canada), ad agency Evil Spirits Vodka, client

2 Manny Santos, art director Barry Flanik, writer Sal DeVito, creative director Rodney Pringle, agency producer DeVito/Verdi (New York, NY), ad agency Legal Sea Foods, client

3 Sinan Dagli, art director Lucas Zehner, writer Steve Mapp/Lyle Yetman, creative directors Butler, Shine, Stern & Partners (Sausalito, CA), ad agency MINI USA, client

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CONSUMER MAGAZINE ADS 1 Matt Leavitt, art director Jonathan Schoenberg, writer TDA_Boulder (Boulder, CO), ad agency Noodles & Company, client

2 Andrew Ho/Katherine Khor, art directors Kevin Joseph/Steve Kyriakou, writers Alex Lim, creative director Farrokh Madon, chief creative officer Chai Guan Teo, Teo Studio, photographer Evan Lim/Kris Tan, The Rabbit Hole, digital imaging Y&R Singapore (Singapore), ad agency Albert Yeo, Infantree Pte Ltd., client

3 (series) Andrés Maranta/Edwin Pineda, art directors Juan Gomez/Freddy Ospina, writers Juan Gomez/Andrés Maranta, creative directors Hugo Corredor/Giovanni Martinez, chief creative officers Platinum MFD, photo-illustrator Sancho BBDO (Bogotá, Colombia), ad agency Exito Supermarket, client

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CONSUMER MAGAZINE ADS 1 (series) Doug Hyland, writer Simone Nobili/David Reyes/Kent Thayer, creative directors John Trice, photographer Joel Given, retoucher Matthew Torres, production designer Max Vitro, project manager Sean O’Meara, project director Alan Bonine, strategic planner Vitro (San Diego, CA), ad agency Tim O’Brien, Taylor Guitars, client

CONSUMER NEWSPAPER ADS 2 (series) Joel Arbez, art director Matt Antonello, writer Matt Antonello/Joel Arbez, group creative directors Helen Pak/Brian Sheppard, executive creative directors Shanghoon, photographer Frank Maidan, fabricator Westside Studio, production company Saatchi & Saatchi Canada (Toronto, Canada), ad agency Novartis Canada, client

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CONSUMER NEWSPAPER ADS 1 (series) Sergio Araya/Gonzalo Palavecino, art directors Tomas Almuna, writer Fadi Yaish, executive creative director Clarisse Mar Wai May, agency producer Garrigosa Studio, production company Impact BBDO Dubai (Dubai, United Arab Emirates), ad agency Fares Abou Khater, Vape, client

2 (series) Kenny Ip/Ra Tang, art directors Jessie Fung/Greg Sutcliffe, writers Jessie Fung/Kenny Ip/Jae Soh, creative directors Brian Ma/Alfred Wong, executive creative directors Connie Lo, chief creative officer Jeremy Wong, photographer Nemesis Pictures Pte. Ltd., retoucher Audrey Chee, planner Leo Burnett Hong Kong (Hong Kong), ad agency Staedtler, client

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CONSUMER NEWSPAPER ADS 1 Nicolas Quintal, art director Max May, writer Ian Grais/Chris Staples, creative directors Mark Whitehead, photographer Jonathon Cesar, typographer Scott Russell, producer Rethink (Toronto, Canada), ad agency SplashDown Waterpark, client

2 (series) Thirasak Tanapatanakul/Komson Yamshuen, art directors Chatchai Butsabakorn, writer Thirasak Tanapatanakul, creative director Komson Yamshuen, illustrator Creative Juice Bangkok (Bangkok, Thailand), ad agency Chayada Bangkaew, Siam Tamiya Co, Ltd., client These ads illustrate the assembled numbered parts of plastic World War II-era model kits sold by Tamiya.

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CONSUMER NEWSPAPER ADS 1 Jacques Denain/Nicolas Dumenil, art directors Andrea Stillacci, creative director Ilario Magali, photographer Johanna Warlus, art buyer La Souris sur le Gâteau, retoucher Luc Wise, strategic planner Capucine Lhermitte, agency producer Herezie (Paris, France), ad agency Harry’s, client

2 Wes Whitener, art director Mitch Bennett, writer Mitch Bennett/Wes Whitener, group creative directors Noel Cottrell, chief creative officer Heath Bennett, designer Brian Wallace, design director Clive Stewart, photographer Adrian Grant-Smith, retoucher Kara Ramos/Courtney Watkins, stylists Cris Tally, project manager Amanda Bertany/Callie Householder, producers Bain Coffman/Chris Pinel, production company producers Fitzgerald+CO (Atlanta, GA), ad agency Howard’s Auto Body, client

3 (series) Jeremy Grice, art director Rob Schlyecher, writer/creative director Janette Lodermeier/Jessica Marte, production designers Jason Pavich, agency producer Spring Advertising (Vancouver, Canada), ad agency Vinyl Records, client

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CONSUMER NEWSPAPER ADS 1 (series) Paul Giannetta, art director Chris Taciuk, writer Paul Giannetta/Chris Taciuk, group creative directors Judy John, chief creative officer Nabil Elsaadi, illustrator Anne Peck, agency producer Leo Burnett Toronto (Toronto, Canada), ad agency Procter & Gamble, Bounce, client

2 (series) Vincent Bernard/Luc Du Sault, art directors Luc Du Sault, writer/creative director Marc Couture, photographer David Boivin/Marc Rivest, illustrators Christine Larouche, project director Catherine Darius, planner lg2 (Québec, Canada), ad agency Sears Optical, client

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CONSUMER NEWSPAPER ADS 1 (series) Aunindo Sen/Gautam Wadher, creative directors Fadi Yaish, executive creative director Clarisse Mar Wai May, agency producer Carioca Studio, production company Impact BBDO Dubai (Dubai, United Arab Emirates), ad agency Valdir Nascimento/Charlotte West, Mars, Inc., Snickers, clients

POSTERS 2 (point-of-purchase series) Mike Lo Nam, art director Abeer Verma, writer Jonathan Smith, creative director Israel Diaz, chief creative officer Adrian Armstrong, photographer/retoucher Mario Pariselli, producer Pirate Toronto, production company Y&R Toronto (Toronto, Canada), ad agency Ford Canada, client

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POSTERS 1 (transit) Vincent Bernard/Jean Lafrenière, art directors Luc Du Sault/Jean Lafrenière, writers Luc Du Sault, creative director David Boivin/Marc Rivest, illustrators David Poulin, director Eve Boucher, project manager Sandie Lafleur, project director Dominik Beaulieu, producer Julie Pichette, agency producer Nova Film, production company lg2 (Québec, Canada), ad agency Festival de magie de Québec, client When a person complies with the headline “Stretch your arms toward the sign,” red balls “magically” float up within a double-pane glass enclosure.

2 Neal White, art director Christian Durrett, writer Trumpy (Atlanta, GA), ad agency Movie Tavern, client

3 (series) Rob Sweetman, art director Bryan Collins, writer Bryan Collins/Jeff Harrison/Rob Sweetman, creative directors The Orange Apple, photographer Stephanie Thatcher, project manager Scot Keith, strategic planner One Twenty Three West (Vancouver, Canada), ad agency 7-Eleven Canada Inc., client

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POSTERS 1 (point-of-purchase series) Natee Likitsuwankool, art director Stephen Reese, writer Israel Diaz, chief creative officer Aric Guité, photographer Y&R Toronto (Toronto, Canada), ad agency Land Rover Canada, client Headlines: The Water Cooler. This stationary plastic container dispenses cool refreshment in an office setting to encourage social interaction.

Hold a cup beneath the spot and draw down the handle to release your portion. Welcome back.

The Light Switch. This button controls what is visible in your immediate surroundings.

Press the top of the titling surface to increase local brightness. Press the bottom to return illumination to its original level.

Welcome back.

The Toaster. This metal box assists in breaking your fast. Two slices of bread fit the slots.

Depress the side lever to recess them for warming and crisping. When their fragrance pleases, a meal is ready. Welcome back.

The Alarm Clock. This mechanized gear assembly manages a daily cycle of sleeping and wakefulness. Locate it a considerable distance from your resting place, then turn the rear dial to schedule consciousness.

Welcome back.

The Salt and Pepper Shakers. The flavorenhancing compounds inside these glass shakers can improve your eating experience.

Add desired amounts to your repast and consume. Welcome back.

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POSTERS 1 (outdoor) Hernan Ibañez/Marco Walls, art directors Samuel Melgar, writer Hernan Ibañez, associate creative director Marco Walls, creative director Gloria De la Guardia, executive creative director Ricardo Salamanca, illustrator Y&R/Red Fuse (New York, NY), ad agency Colgate, client

2 (point-of-purchase series) Aunindo Sen/Gautam Wadher, creative directors Fadi Yaish, executive creative director Ralph Baiker, photographer Clarisse Mar Wai May, agency producer Club Production/Zoot, post-production companies Impact BBDO Dubai (Dubai, United Arab Emirates), ad agency Ahmed El Khadem, Mercedes-Benz, client

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POSTERS 1 (transit series) Thiago Cruz/Bruno Guimaraes, art directors Gustavo Dorietto/Gabriel Schmitt, associate creative directors Sean Burns/Howie Ronay, creative directors Jon Flannery, executive creative director Todd Tilford, chief creative officer Alan Gross, strategic planner FCB Chicago (Chicago, IL), ad agency Kmart, client

2 (series) Hwee Chong Chan/Guo Long Zhang, art directors Jody Yeoh, writer Hwee Chong Chan/Jody Yeoh, creative directors Chee Guan Yue, executive creative director Nuo Ma, photographer Procolor Imaging Pte Ltd., retoucher Xiao Hou, producer Kevin Bi/Jane Li/Amy Wang, agency producers Grey Beijing (Beijing, China), ad agency Garmin, client

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POSTERS 1 (point-of-purchase series) Yan Snajdr, art director Tom Mednick, writer Ben Steele, associate creative director David Crichton, creative director Robert Watson, photographer Grip Limited (Toronto, Canada), ad agency Honda Canada, client Headline: You’re never alone.

2 (transit) Omari Miller, art director Jake Bogoch/Avery Gross/Brian Shembeda, creative directors Susan Credle, chief creative officer Susan Anderson, producer Leo Burnett Chicago (Chicago, IL), ad agency McDonald’s, client

3 Travis Robertson, art director Greg Almeida, writer Greg Almeida/John Kearse/Travis Robertson, creative directors Nat Novak, creative contributor Wade Devers/Pete Johnson, executive creative directors Kathy McMann, art producer Arnold Worldwide (Boston, MA), ad agency truth, client

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POSTERS 1 (outdoor series) Magnus Hierta/David Muhlenfeld, creative directors Jorge Calleja, group creative director Joe Alexander, chief creative officer Ben Eley, photographer Martin Allais, illustrator The Martin Agency (Richmond, VA), ad agency Mondelēz International, Inc., client

2 (point-of-purchase) David Ortega, art director Daniel Andreani/Bart Cleveland/David Ortega, writers Daniel Andreani, creative director Stan McCoy, photographer McKee Wallwork + Company (Albuquerque, NM), ad agency Pimentel & Sons Guitarmakers, client Headline: 100% Made By Hand.

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POSTERS 1 Roberto Cabian/Gorka Fernandez Iriso/Africa Lopez, art directors Samuel Gomez/Marta Lopez/Joao Valente, writers Gorka Fernandez Iriso/Gonzalo Urriza, creative directors Felix Del Valle/Carlos Jorge, executive creative directors Contrapunto BBDO (Madrid, Spain), ad agency Antonia Belenguer/Joaquín Garralda Azpíro/ Rocio Poggio/Oscar Rubira/Elena Steiner, Mercedes-Benz, Smart Car, clients

2 (outdoor) Keni Mezarina, art director Renato Farfán/Rafael García, writers Juan Donalisio, creative director Humberto Polar, chief creative officer Alonso Del Carpio/Willy Wong, La Sonora, sound design Juan Pablo Ezeta/Rodrigo Tovar/Geoffrey Yahya, videographers Valeria Malone Lo Presti, FCB Mayo, project director Juan Christmann, All Awards, consultant Plan B Productions, post-production company FCB Mayo (Lima, Peru), ad agency Jessica Ruas, University of Engineering and Technology, client “In Peru, the construction industry is booming—and a growing source of pollution. The consequences of this could be life threatening, such as cancer caused by solid particles in the environment. The University of Engineering and Technology is building a new campus as well. So UTEC and FCB Mayo created the first billboard that purifies the air. Installed in the middle of the construction site, it absorbs the polluted air, filters it and returns pure air to the surroundings, benefiting all residents of the construction area as well as the workers.”

3 (outdoor) Brandon Knowlden, art director Kris Kennedy, writer Rick Standley, associate creative director Jimmy Olson/Derek Sherman, group creative directors Derek Green, executive creative director Marshall Ross, chief creative officer Melissa Grein, art buyer Whitehouse Post, editorial company District 7 Media, director Cheryl Lindquist, agency producer Scott McBurnie, executive producer Cramer-Krasselt (Chicago, IL), ad agency Constellation Brands, client “To connect Corona and night in New York, we turned the actual moon into the iconic slice of lime on our bottle. We worked with top universities and astrologists to find the perfect location in downtown New York where the crescent moon would descend onto a billboard of our bottle. We showed people the perfect places to stand as the moon descended. ‘Luna Corona’ was covered by media across the globe. And sales in New York increased 7.9 percent this summer.”

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POSTERS 1 Travis Robertson, art director Greg Almeida, writer Greg Almeida/John Kearse/Travis Robertson, creative directors Nat Novak, creative contributor Wade Devers/Pete Johnson, executive creative directors Kathy McMann, art producer Arnold Worldwide (Boston, MA), ad agency truth, client

2 (series) Danilo Boer, art director Grant Smith, writer Danilo Boer/Grant Smith, creative directors Gianfranco Arena/Peter Kain, executive creative directors David Lubars/Greg Hahn, chief creative officers Un Mariachi, illustrator Crystal Rix, planner BBDO New York (New York, NY), ad agency Mars, Inc., Snickers, client

2

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POSTERS 1 (series) Gigi Carroll, group creative director Todd Tilford, chief creative officer Kristin Haley, designer Julie Regimand, producer FCB Chicago (Chicago, IL), ad agency Valspar, client

2 (point-of-purchase series) Adam Millman, art director Chris Breen, creative director Ryan Haislip, photographer breensmith (Atlanta, GA), ad agency Diageo, client

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POSTERS 1 (series) Jenny Luong, art director/illustrator Jerry Brens, writer Zak Mroueh, creative director Daniel Ehrenworth, photographer Kari Macknight-Dearborn, agency producer Zulu Alpha Kilo (Toronto, Canada), ad agency David MacKenzie, Beyond the Beat, client

2 (outdoor series) Jason Fetterman, art director Mike O’Connell, writer Jon Stewart, creative director/strategic planner Mark Simon, chief creative officer Tom Drew, photographer Gecko Imaging, retoucher Lowe Campbell Ewald (Detroit, MI), ad agency Valentine Distilling, client

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DIGITAL ADVERTISING 1 Ezra Paulekas, art director Rob Calabro, writer Eric Boyd, associate creative director Tom Scharpf, creative director Will McGinness/Paul Venables, executive creative directors Adrian Belic/Timoteo Freccia/Aaron Phillips, directors of photography Kyle Brown, editor Beast, editorial company Beacon Street Studios, music 740 Sound Design, sound design One Union Recording, audio mixer Mick Ebeling/Lucy Walker, directors Craig Allen, integrated production director Francine Weiner, producer Kira Carstensen, executive producer The Ebeling Group, production company Venables Bell & Partners (San Francisco, CA), ad agency Intel, client “Look Inside: Mick Ebeling” 3:00 “After reading about a boy named Daniel who lost both arms during a bombing in South Sudan, Mick Ebeling traveled to Africa to create the world’s first 3-D printing lab dedicated to prosthetics. His story is the latest in the Intel Look Inside short film series.”

2 (series) Meredith Abbott/Brit Ryan, art directors Kristi Battarbee/Zach DeBlaey/Chris Gault/Lee Hanson/Jenny Kirmis/Curtis Peterschmidt, writers Derek Till, group creative director Eric Husband, executive creative director Mike Caguin, chief creative officer Nicole Goodman, senior integrated producer Exponent, PR division of Colle+McVoy (Minneapolis, MN), ad agency Duluth Trading Company, client “To generate interest during the holidays in Duluth Trading Company’s line of flannel clothing, we combined flannel and analytics to create the humorous and content-driven Flannelytics report.

This official declaration of the Top Ten Flannel Cities in America was featured in the Huffington Post and People StyleWatch. It even had news anchors wearing Duluth flannel during their broadcasts.

The campaign helped generate record fourthquarter web traffic and sales.”

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DIGITAL ADVERTISING 1 Joel Holtby, art director/associate creative director Trevor Gourley, writer Ian Grais/Dre Labre/Chris Staples/Aaron Starkman, creative directors Monika Ghobrial, broadcast producer Rethink (Toronto, Canada), ad agency Historica Canada, client “On November 11, Remembrance Day, teens across Canada were sent a direct message via Snapchat. A video appeared as soon as they launched the app on their mobile phones in which Canadian veterans told real hero stories from their World War II experiences. Before the veterans could finish, they were cut off and a message appeared notifying teens that our Canadian war veterans and their heroic stories were vanishing, and the only way to preserve their memory and hear more stories was to go to thememoryproject.com.”

2 Lindsey Lanpher/Richard Tseng, writers Bobby Hershfield, chief creative officer Marc Laliberte Else, director of photography Gavin Cutler/Ryan Steele, editors Mackenzie Cutler, editorial company David Shane, director Kim Cross/John Swartz, producers Ralph Laucella/Ken Licata, executive producers Evan Meeker, post-production producer O Positive, production company SS+K (New York, NY), ad agency HBO, client “Happily Married” :60 “Millennials knew about HBO GO, but they didn’t realize it came free with an HBO subscription. And they didn’t know how to get the password—not many people do. To tell millennials about HBO GO and give them a pretty good reason for using it, we created our Awkward Family Viewing films. This online video from the series features one of the awkward, horrible, yet relatable moments you could avoid by using HBO GO to watch HBO without your parents.”

3 Luke Thompson, art director Tom Martin/Julian Schreiber, creative directors Jason Zada, director Dustin Callif/Corey Esse/Oliver Fuselier, executive producers Sonia von Bibra, executive agency producer Exit Films/Tool of North America (Santa Monica, CA), production companies Clemenger BBDO, ad agency Tourism Victoria, client “Melbourne isn’t like other Australian tourist destinations.

Instead of big landmarks and beautiful beach vistas, it’s a patchwork of little cultural experiences. And these take time to discover. For Tourism Victoria, we created remotecontroltourist. com, an immersive experience where four human Remote Control Tourists, equipped with live streaming cameras, GPS devices and bikes, explored Melbourne for five days. They carried out almost 3,000 unique requests from Twitter and Facebook users in 158 countries. Video clips from the Tourists’ explorations are archived on the website, which also utilizes the APIs of Facebook, Twitter, Google Maps, Foursquare, Instagram and YouTube to allow potential visitors to really get to know Melbourne before they get on a plane.”

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DIGITAL ADVERTISING 1 Matthieu Darrasse, art director Alban Gallée, writer Rudi Anggono (Miami, FL), creative director TBWA\G1, ad agency Nissan, client “iPad users typically swipe right past the ads. We exploited this habit to disruptively communicate Nissan’s latest technology, self-healing paint.”

2 Scott O’Leary, art director Ryan Peck, writer Scott O’Leary/Ryan Peck, creative directors Randy Hughes, executive creative director Dave Damman, chief creative officer Andrew Wetzel, designer Matthew Libatique, Caviar, director of photography Daniel Lee/Zach Pentoney, Mark Woollen Associates, editors Carl White, BWN, sound designer Ruben Fleischer, Caviar, director Amber Navarrete/Pete Olson, Volt, visual effects artists Sean Coleman, Company 3, Telecine colorist Luke Ricci, Caviar, line producer Joe Grundhoefer, integrated production director Jennifer David/Jeremy Greene, Mark Woollen Associates, producers Rich McGeheren, interactive producer Jon Mielke, senior integrated producer Jasper Thomlinson, Caviar, executive producer Carmichael Lynch (Minneapolis, MN), ad agency Subaru of America, client “The Ride of Her Life” 2:30 “Subaru wanted an ad to launch their new WRX sports car. We gave them a new company instead.

DoubleURXXX Productions is a wholly owned subsidiary of Subaru of America and is dedicated to making things for people who don’t like boring stuff.”

3 Austin Hamilton, writer Sasha Blejec, associate creative director Jin Park, creative director Matt McKay, executive creative director Greg DiNoto/Kerry Keenan, chief creative officers Matt Severin, motion graphic designer Aliza Adam, interactive designer Dean Opriasa/Brian Snapp, technology strategists Kamran Aslam/Michael Nicosia/Rey Peralta, technology directors Cohan Andersen, editor Cameron Farrell, associate producer Rainy Kumar/Jennifer McBride/Suzanne Molinaro, interactive producers Joe Calabrese, integrated producer Ryan Moylan/Juan Turcios, interactive developers Deutsch NY (New York, NY), ad agency TNT, client “To build excitement around its premiere, we made Mob City the first tv show to be adapted onto Twitter, sharing every word of the pilot episode script during a three-day event. Twitter Cards allowed us to inject photos and GIFs directly into every tweet, while mobscript.com arranged tweets sequentially alongside tweeted cast-and-crew commentary. In the end, we successfully immersed 43 million people in the storyline of the show before it even aired.”

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DIGITAL ADVERTISING 1 (series) Allan Peters, art director Sage Rider, writer Steve Chirhart, associate creative director Ruth Balbach, creative director Danielle Evans, illustrator Rebecca Glenz, art buyer Tierney Krienert, producer Target Creative Studio (Minneapolis, MN), ad agency Target Canada, client “To remind Canada that Target sells food, we hired a food illustrator and crafted some fun posts on Facebook and Twitter.”

2 Alyssa Wilson-Georg, art director

2

Joshua Kahn, writer Sean McBride, group creative director Wade Devers/Pete Johnson, executive creative directors Munn Powell, director of photography Reuter, editor Edit Bar, editorial company Brian Heidebrecht, audio mixer Ben Hurst/Dave Thomas, directors Milla Stolte, planner Jaime Guild, broadcast producer Barry Heaps/John LaChapelle, production company producers 3rd Street Mining Company, production company Zero VFX, visual effects company Soundtrack, post-production company Arnold Worldwide (Boston, MA), ad agency Progressive Insurance, client “Burping” :15 “Act your age. Get off your parent’s insurance. Instead of shopping for their own car insurance, the majority of millennials simply opt for the same insurance company their parents use, often passing up hundreds in savings. For these overgrown infants, our Baby Man campaign is a wake-up call—a not-so-subtle portrayal of how ridiculous their dependency makes them look and a friendly reminder to choose their own car insurance and save.”

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DIGITAL ADVERTISING 1 Rachel Kennedy, art director Shauna Roe, writer Helen Pak/Brian Sheppard, executive creative directors Bijou, editorial company BoomBox Sound, music company Simon Conlin/Lisa Hamilton, agency producers Michelle Orlando, executive agency producer Suzanne Abate/Lindy Zucker, production company producers Track & Field, visual effects company Andrew Bodis/Alex Pana, interactive developers The Development Factory, development partner Saatchi & Saatchi Canada (Toronto, Canada), ad agency The Tourette Syndrome Foundation of Canada, client “Surrender Your Say” 2:45 “Tourette Syndrome (TS) is an incredibly complex and difficult disorder to understand. It is completely random and variable; sufferers might experience physical tics, vocal outbursts, obsessive-compulsivedisorder and anxiety attacks. Sometimes all at once.

To raise awareness for TS, the Tourette Syndrome Foundation of Canada used Twitter to help the public feel the lack of control that comes with TS. It asked the public to join Surrender Your Say, and turn over control of their Twitter handles for 24 hours. The foundation then randomly tweeted strange and even offensive tics into the feeds of people who signed up, generating massive awareness for the disorder.”

2 Evan Benedetto/Victor Roa, art directors Jan Jaworski, writer Ari Weiss, executive creative director John Patroulis, chief creative officer Brian Latt, managing director, creative Justin Gurnari, director of photography Stitch, editorial company Plan 8, sound design POP Sound, sound engineer Ben Tricklebank, Tool of North America, director Company 3, colorist Justin Booth-Clibborn, integrated production director Kristen Koeller, agency producer Dustin Callif/Oliver Fuselier, executive producers Norma Kwee/Steven Steiner/Bryan Thomas, production company producers Tool of North America (Santa Monica, CA), production company BBH New York (New York, NY), ad agency PlayStation, client “To launch PlayStation’s Gran Turismo 6, we created a multiplatform campaign featuring an online documentary that shows how Mario Andretti launched his legendary racing career by building his first race car, a 1948 Hudson, with his friends. To expand on the social campaign, we rebuilt the same model car in a five-day live stream on the PlayStation website, where fans from all over the world could chime in with suggestions on how to make the custom build just like Mario’s original car. The site hosts multiple full-screen films with extra content options, a time-lapse overview of the build, and interactive social panels where viewers can contribute, join discussions and chat with the Gran Turismo team. The site was built using the most cutting-edge HTML5, CSS 3D and JavaScript techniques to deliver its content, but also do so in a very innovative way.”

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DIGITAL ADVERTISING 1 (series) Lindsey Lanpher/Richard Tseng, writers Bobby Hershfield, co-chief creative officer Marc Laliberte Else, director of photography Gavin Cutler/Ryan Steele, editors Mackenzie Cutler, editorial company David Shane, director Kim Cross/John Swartz, producers Ralph Laucella/Ken Licata, executive producers Evan Meeker, post-production producer O Positive, production company SS+K (New York, NY), ad agency HBO, client “Appreciation” :45, “Unconditional Love” 1:15, “Your Body, Your Choice” :45 “There are few pleasures greater than diving into a pizza and any of HBO’s award-winning sex, drugs, comedy and violence shows. Unless you’re nineteen and Dad insists on watching it with you, over your shoulder. This classic family dynamic inspired our latest marketing campaign for HBO GO dubbed Awkward Family Viewing.”

2 Burberry/Google Creative Partnerships/Grow (Norfolk, VA), ad agencies Burberry/Google, clients “Emotion meets technology in this new experience that lets you send kisses around the world from any device.

All you need to do is pucker up in front of your webcam at kisses.burberry.com. Using advanced kiss-detection technology, the site will detect the outline of your lips; you have the option of dressing them up with a Burberry lipstick color. After that, you can write a short message and send it to that special someone via e-mail.”

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MISCELLANEOUS 1 (trade advertising) Vic Bath, art director Ryan Grosman, writer Andy Manson, creative director Nabil Elsaadi, retoucher DentsuBos (Toronto, Canada), ad agency Lexus Canada, client

2 (self-promotion) Franklin Tipton, writer Libby Brockhoff, creative director Joe Ski, illustrator Odysseus Arms (San Francisco, CA), ad agency/client Capabilities brochure. 100 pages, 11½ × 12, 4-color, perfect bound.

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MISCELLANEOUS 1 (sales promotion) Rafa Oliveira, art director Caio Lekecinskas, writer Rodrigo Jatene, creative director Guilherme Jahara, executive creative director Marcelo Reis, chief creative officer Comando S, sound design Celso Groba/Jackeline Neuwirt, agency producers Tubarão Filmes, production company Leo Burnett Tailor Made (São Paulo, Brazil), ad agency Fiat, client “In Brazil, most back-seat car passengers don’t wear seat belts. This habit has been ingrained in them since childhood. To address children, we decided to use the most influential and respected people: the DC Comics heroes. We created the Hero Hug, special covers for seat belts that mimic the arms of superheroes, protecting and teaching children about the importance of wearing seat belts.”

2 (sales promotion) Jessica Nichols, art director Mike De Candido, writer Ryan Spelliscy, creative director Brent Choi, chief creative officer Dawn Lacuesta, project manager Mindshare, consultant Tamara Sulliman, producer JWT Canada (Toronto, Canada), ad agency Walmart, client Package tag: Shop in your PJs on the new walmart.ca.

3 (sales promotion) Mark Bangerter, art director/illustrator Gary Sume, writer/creative director Dave Newbold, executive creative director Cynthia Griffin, producer Richter7 (Salt Lake City, UT), ad agency MountainStar Healthcare, client “No one rushes to the emergency room just so they can spend hours in a waiting room. This flipbook was created to emphasize this fact while highlighting a texting service that tells you the current average wait time at the nearest MountainStar Healthcare emergency room.”

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MISCELLANEOUS 1 (sales promotion) Melissa Tetens, art director Charlie Stephenson, writer Tom Nynas, creative director David Sutherland Inc. (Dallas, TX), design Scogin Mayo, photographer Vaught Studio, digital imaging David Sutherland Inc., Perennials, client These posters were mailed to clients to create interest in Perennials fabrics.

2 (trade advertising) Alex van der Breggen, art director Noel Blix, writer Mike Meadus, creative director The Orange Apple, photographer MacLaren McCann Calgary (Calgary, Canada), ad agency Bayer CropScience, client

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MISCELLANEOUS 1 (sales promotion) Matt Sorrell, art director Jessica Coulter, writer Chris Beresford-Hill/Dan Lucey, creative directors David Lubars, chief creative officer Casey Adams/Jd Michaels, agency producers BBDO New York (New York, NY), ad agency Foot Locker, client “Foot Locker’s back-to-school campaign featured NBA star James Harden attempting a career as an R&B singer. It included two original tracks, two music videos, album art and a press kit. These items were put on a customized jump drive that opened and closed with Harden’s beard. The drives were sent to sports and music bloggers, earning coverage from hundreds of outlets.”

2 (self-promotion) Ryan Montgomery, art director Nicole Berard/Kai Neddersen/Jon Ruby/Allison Rude, writers Tim Vaccarino/Dave Weist, group creative directors Mark Wenneker, chief creative officer Veronica Padilla, artist Joe Palasek, creative technologist Chris Zuppa, animation Rob Apse/Emile Doucette/Jessica Phearsome/Libby Ryerson, assistant editors Nick Brecken, videographer Jeremiah True, production designer Liza Near, integrated production director Jamee Sheehy, producer Charley Perkins, digital producer Mullen (Boston, MA), ad agency/client “This holiday season, Mullen wanted to spread peace and goodwill on ad blogs. So we invented the Hater Translator, Mullen’s gift to the advertising community. Through a unique device created in-house by our IT department, mean-spirited comments were instantly replaced with messages of hope. The Hater Translator was made up of Mullen writers translating more than 100 mean comments on ad blogs in real time under the name Hater Translator.

We created a video showing off the Hater Translator machine and revealing that it was in fact Mullen, turning hateful comments into joy.”

3 (self-promotion) Kyle Lamb/Kurt Mills, associate creative directors Chris Hirsch/Nellie Kim, creative directors Stephen Jurisic/Angus Tucker, executive creative directors Tom Briggs, designer Bob Lyte, director of photography Chris Murphy, editor Relish, editorial company Vapor Music, music company Jono Hunter, director Dale Giffen/Madison Papple, agency producers OPC/Family Style, production company TOPIX, visual effects company Alter Ego, post-production company john st. (Toronto, Canada), ad agency/client “ExFEARiential” 2:45 “Riots. Muggings. Babynappings. We’ll do anything to get your brand noticed—with ExFEARiential.”

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NON-TRADITIONAL ADVERTISING 1 Marcelo Rizerio, art director Christian Fontana, writer Rodrigo Jatene, creative director Guilherme Jahara, executive creative director Marcelo Reis, chief creative officer Christian Balzano/Jack La Noyée/Paulo Staliano/ Gregorio Szalontai, editors eNoise, sound design Celso Groba/Rafael Messias/Stella Violla, agency producers Leo Burnett Tailor Made (São Paulo, Brazil), ad agency Brazilian Association of Organ Transplantation (ABTO), client “A millionaire promises to bury his $500,000 Bentley, shocks a whole country and proves that burying organs is way more absurd.”

2 Gan He/Yongqiang Hu/Morris Ku/Chenghao Xie, art directors Juggi Ramakrishnan, writer Wilson Chow/Graham Fink/Jiankai Lu/Juggi Ramakrishnan, creative directors Chenghao Xie, designer Soonguan Poh, design director Xiaohang Liu, photographer Andrew Gregg/Andrew Piggott, directors of photography Morris Ku, editor/videographer Eric Cheng/Whiwei Hsiao/Tracy Wu, project managers Andrew Kwan, project director Qing Liang/Lin Ma/Gordon Westman/Jeff Wong/ Zefeng Xu, producers Fatman Films/Maxx Marketing Inc./Mili Films, production companies Ogilvy & Mather Beijing (Beijing, China), ad agency Coca-Cola, client “To creatively repurpose used plastic Coke bottles, a variety of bottle caps were given away free with the purchase of Coke. Long after the Coke itself has been consumed, the bottle can continue to spread happiness.”

3 Stacey Fredrickson/Jorge Gomez/Mario Gomez/ Otto Othman, art directors Will Hughes, writer Paul Amelchenko, associate creative director Boris Stojanovic/Jake Wheeler, creative directors Gaston Legorburu, chief creative officer Pamela Roca, designer Alejandro Mendoza, design director Guto Nicolucci, web designer Javier Urquiza, editor Ariel Bellumio/Mike Diaz, producers Rafael Jimenez/Alejandro Roses/Jimmy Satizabal, interactive developers SapientNitro (Miami Beach, FL), ad agency Chrysler Group LLC, Fiat, client “Noted Italian artist Nicola Verlato completed a masterpiece, using the interior ceiling of the all-new 2014 Fiat 500L as his canvas, during the Los Angeles Auto Show. An image of the finished painting, which pays homage to elements of Michelangelo’s work inside the Sistine Chapel, is available, along with time-lapsed video of each of the six days’ efforts, at fiatusa.com/en/social. The Fiat 500L will be showcased at future events, including art exhibits.”

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NON-TRADITIONAL ADVERTISING 1 Joao Unzer, art director Rodrigo de Castro Silva, writer Menno Kluin/Andrew McKechnie, executive creative directors Matt Eastwood, chief creative officer Brian Gartside/Aaron Stephenson, designers Juan Carlos Pagan, design director Steven Wilson, illustrator Alec Helm/Tim Zeigler, editors Davi Russo, director Mary Bakarich, planner Nina Horowitz/Logan Luchsinger, producers Teri Altman/Maya Brewster/Gregg Carlesimo, executive producers Ed Zazzera, executive agency producer @radical.media, production company DDB New York (New York, NY), ad agency New York City Ballet, client “‘New Beginnings’ is a short film we created with the New York City Ballet that captures a rooftop dance performance—shot in a single take—at sunrise in lower Manhattan, with breathtaking views of the newly constructed One World Trade Center and the spectacular New York City skyline. We launched the film on September 12, 2013, with the goal of branding 9/12 as a day that can stand for optimism and the resilience of the human spirit.”

2 (series) Pablo Jiménez, art director Kamil Kowalczyk, writer John Hansa/Tony Katalinic/Kelly Neill, creative directors Matt Kuttan, group creative director Dave Loew/Jon Wyville, executive creative directors Susan Credle, chief creative officer Ross Greenblat/Benjamin Milan, producers Denis Giroux, executive producer Arc Worldwide/Leo Burnett Chicago (Chicago, IL), ad agencies McDonald’s, client “Books have an incredible impact on children’s lives; unfortunately, one in four children in America grow up without learning how to read. To demonstrate McDonald’s support for children’s literacy, a McDonald’s restaurant in Chicago was transformed into the Literacy Store. We replaced all of the regular words in the restaurant environment with nonsensical, unreadable language, altering the digital menu board, posters, tray liners and restroom signs. Even ketchup packets and employee nametags were made illegible. Restaurant visitors were left to wonder what was going on until the digital menu board revealed the message: ‘To a child who can’t read, the world can be a confusing place. To spread the joy of reading, we’re including original kids’ books in every Happy Meal.’ Starting on November 1— National Literacy Day—and continuing for two weeks, McDonald’s replaced the toy in Happy Meals with an original children’s book. More than 20 million Happy Meals containing original children’s books were distributed nationwide. That’s five million more books than the entire Hunger Games trilogy sold in the whole of 2013. The Literacy Store supported the McDonald’s effort and created a conversation about the importance of reading.”

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INTEGRATED CAMPAIGNS 1 (series) Dan Treichel, art director Dave Canning, writer Dave Canning/Dan Treichel, creative directors Eric Kallman/Brandon Mugar, executive creative directors Gerry Graf, chief creative officer Matt Egan, designer Paolo Pellegrin, Magnum Photos, photographer Kris Kachikis, Furlined, director of photography Steve Kutny/Ryan Sears, Big Sky Edit, graphic artists Jonathan Vingiano, technology director Chris Franklin/Dave Madden, Big Sky Edit, editors Liz Bilinsky/Megan Elledge, Big Sky Edit, assistant editors APM Music, music company Chris Franklin, Big Sky Edit, sound design Ted Pauly, Furlined, director Dave Madden, Big Sky Edit, colorist Jennifer Gee, Furlined, line producer Danielle Travers, planner Grace Phillips, Big Sky Edit, associate producer Cheryl Panek, Big Sky Edit/David Thorne, Furlined, executive producers Carey Head, executive agency producer Furlined (Santa Monica, CA), production company Barton F. Graf 9000 (New York, NY), ad agency 350 Action, client “Since 1954, the World Meteorological Organization has been naming hurricanes and extreme storms.

So in order to increase awareness of climate change and its link to extreme storms, we petitioned the World Meteorological Organization to change its current naming system of storms from randomly selected names, such as Katrina and Sandy, to the names of actual policy makers who deny climate change. An online video drove viewers to climatenamechange.org, where the petition lived.

Visitors could view an aggregated list of every policy maker in the United States who denies climate change and tweet at them directly. Visitors could also connect to Facebook from the site to see how many of their Facebook friends share a name with a current hurricane or tropical storm and drive them to the petition to save their name from being tarnished by a natural disaster. Posters featuring the damage from past storms, but with names of U.S. policy makers, furthered the message.”

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INTEGRATED CAMPAIGNS 1 (series) Mark Wilkie, art director Ian Catmur/Caroline Steiner, Starcom MediaVest Group, writers Jefferson Hack, MAD Agency, creative director Spencer Deadrick/David Gardiner/Kenny Rennard, Starcom MediaVest Group, group creative directors Rob Rizzo, Starcom MediaVest Group, executive creative director Lance Jensen, chief creative officer Duda Bosnic/Justin Cyganiewicz/Mike Langone/Nate Naylor/ Patricio Sanchez, Starcom MediaVest Group, designers Paul Martinez, Arcade, editor Mark Romanek, Anonymous Content, director Leslie Carthy, Arcade/Aristides McGarry, Anonymous Content, producers Rick Waller, agency producer SueEllen Clair, Eric Stern, AnonymousContent/Nicole Visram, Arcade, executive producers Brian Gonsar, executive agency producer Rob Gilcrest/Kelly McSheffrey, project managers Hill Holliday (Boston, MA), ad agency Bank of America, client “Bank of America is in a unique position to use its size and scale to help people and communities address societal challenges. The bank knew it could make a critical difference in the fight against HIV/AIDS by making a two-year, $10 million pledge and partnering with (RED) and U2 to rally people around the world to join the fight. The campaign launched with a Super Bowl ad featuring U2 performing their new song, ‘Invisible.’ The bank donated $1 to (RED) for every download. A few days before the Super Bowl, a teaser was posted on YouTube, a Vine video was tweeted on the bank’s two digital billboards in Times Square and a clock counted down to the song’s availability. To amplify the message, 500 radio personalities did live reads on local stations nationwide.

On Super Bowl Sunday, the ad reached more than 100 million viewers and, surrounded by an innovative social media strategy, created huge awareness, participation and buzz. The song was downloaded more than a million times in the first hour alone. In just one day, 3,144,477 downloads triggered a $3,144,477 donation from Bank of America— translating into nearly eight million days of life-saving AIDS medication for pregnant mothers. There were seven million YouTube views of the ad and 112,000 campaign mentions.

There were also 107,000 tweets, the majority of which came from celebrities, musicians, talk-show hosts and politicians.”

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INTEGRATED CAMPAIGNS 1 (series) Bryan Evans/Brian Farkas, art directors Brenna Humphreys/Tylynne McCauley, writers Jason Sperling, executive creative director Joe Baratelli, chief creative officer Teddy Gersten, Butcher Editorial, editor Mark Tripp, RPA, director/producer Mark Gethin, MPC, Telecine colorist Gary Paticoff, executive agency producer RPA (Santa Monica, CA), production company/ad agency Alicia Jones, American Honda Motor Co., Inc., client “Our goal was to start a movement to save the American drivein theater through education, engagement and raising national awareness. The central hook of the campaign was a contest with a public vote to decide which theaters would receive five digital projectors donated by Honda.

“The overall effort included a choreographed use of branded and user-generated content, digital and social media, and experiential, PR and guerrilla materials. Our mini-documentary seeded the effort with Honda’s online communities and with media organizations. A dedicated website became the rallying point, allowing people to meet the drive-ins, vote, donate or share the cause with their friends and family. We hosted pop-up drive-ins at Honda dealerships to bring the drive-in experience to places where it didn’t exist. To keep the crusade accessible, we created an Indiegogo crowdfunding campaign so people could contribute to the cause even if they didn’t have a specific drive-in to support. But the heart and soul of the effort came from on-theground supporters. Armed with a Honda-created campaign toolkit, we encouraged individual drive-in operators and their fans to campaign for votes and draw attention to the need in their communities.

“Local news services were the first to pick up the story, followed by national print and TV news coverage, including NBC Nightly News, USA Today and Huffington Post. The grassroots stories of outreach and involvement were impressive: a senator posted movement signage outside his office, a local pastor encouraged parishioners to vote and a local school district assigned voting for their local drive-in to every student. To award the projectors, we visited the owners of the winning drive-ins, posing as news reporters covering the impending digital conversion. After a few questions, we finally told them they had actually won a digital projector and captured their reactions.”

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INTEGRATED CAMPAIGNS 1 (series) Liam Johnstone, art director Sarah Di Domenico/Matt Syberg-Olsen, writers Christina Yu, creative director Damian Simev, designer Paul Jutras, editor Rooster Post Production, editorial company Imprint Music, music Hubert Davis, director Lexy Kavluk, line producer/executive producer Tom Evelyn, producer Terri Vegso, agency producer Richard Yu, interactive producer Untitled Films, production company Mario Davcevski/Ricardo Peters, interactive developers Red Urban (Toronto, Canada), ad agency Volkswagen Canada, client “Once More. The Story of VIN 903847 is a documentary that follows the journey of a 1955 Beetle around the world three times, through several owners, to the present day. The film not only tells a story that’s still going after 59 years, but also underscores the enduring love for the Beetle and the Volkswagen brand. The documentary has aired on Bravo and the Discovery Channel, as well as having its own fully annotated site where viewers can explore pictures, journal entries and the Beetle’s destinations over the years.”

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PUBLIC SERVICE 1 (series) Linda Carte/Jacqueline Mak, art directors Simon Rogers/Arrabelle Stavroff, writers Linda Carte, associate creative director Peter Ignazi/Carlos Moreno, executive creative directors Mike Nugent, designer Matt Barnes, photographer Jano Kirijian, retoucher Westside Studio, production company SGL Studios, post-production company BBDO Toronto (Toronto, Canada), ad agency Peacebuilders International, client

2 (series) Hans-Juergen Kaemmerer/Hugo Moura, art directors Benjamin Merkel, writer Hans-Juergen Kaemmerer, creative director Andreas Pauli, chief creative officer Dieter Roosen, photographer Cornelia Richter, art buyer Netti Weber, producer Leo Burnett Frankfurt (Frankfurt, Germany), ad agency Reporters Without Borders, client “In many countries, journalists risk torture and oppression for the sake of the truth. Our task was to spread this urgent message on behalf of Reporters Without Borders to gain new backers. We placed our call for freedom of the press in precisely those places people read daily newspapers: cafés, pubs, bars and libraries. We targeted newspaper sticks, in which we didn’t just insert the day’s newspaper, but also a transparent cover over the title page showing pictures of journalists holding their arms in the air, as if being held captive.”

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PUBLIC SERVICE 1 (series) Mike Schonberger, art director Matt Hubbard, writer Terry Drummond/Alan Madill/Barry Quinn, executive creative directors Todd McLellan, Sugino Studios, photographer Toby Sime, agency producer Juniper Park (Toronto, Canada), ad agency Annie Game, Canadian Journalists for Free Expression, client

2 Ali Rez, art director/creative director Akash Goel, creative contributor Jamil Akhtar/Noor Behram/Imran Arif Khan/Insiya Syed, photographers Sana Nasir, illustrator Saks Afridi/JR, artists Saks Afridi, web designer Qasim Nagori, retoucher Zeeshan Perwez, editor Zeepar, editorial company Faisal Durrani, project manager Aamir Allibhoy, project director Sohaib Zahid Umar, planner Assam Khalid, strategic planner Farooq Niaz/Ovais Suhail, producers Brave New Films, production company 18% Grey, post-production company BBDO Pakistan (Lahore, Pakistan), ad agency Foundation for Fundamental Rights/ Reprieve, clients “Not a Bug Splat” 2:00 “Predator drone strikes in Pakistan have killed an estimated 3,500 people, a disturbing percentage of which have been innocent civilians, including more than 200 children. The Foundation for Fundamental Rights has been working to raise awareness of this crisis. Drone operators routinely describe their casualties as ‘bug splats,’ since viewing a human from far above gives the sense of an insect being crushed. Our strategy was to speak directly to drone pilots stationed remotely. A large-scale portrait of a child affected by an attack was laid on the ground, facing up in the heavily bombed area of Northwestern Pakistan.

A drone camera could capture and transmit it to an operator’s screen, thereby engaging them in a direct dialogue. The campaign was put online with the hashtag #NotABugSplat and an informational website. The poster was also designed to be captured by mapping satellites, to make the images a permanent part of the landscape.”

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PUBLIC SERVICE 1 Logan Gabel, art director Patrick Scissons, writer/chief creative officer Jay Melnychuk, designer Laura Rovinescu, project manager Vikki Kuzmich, producer Grey Canada (Toronto, Canada), ad agency Jennifer Hoppe/Shannon Watts, Moms Demand Action for Gun Sense in America, clients “Specially designed Gun Cups were used at protest rallies against Starbucks for allowing the general public to carry armed weapons inside its stores. Individuals could personalize their cup by calling attention to a victim of gun violence in their area.”

2 Anthony Chelvanathan, art director Steve Persico, writer Lisa Greenberg/Judy John, creative directors Anthony Chelvanathan/Steve Persico, group creative directors Frank Hoedl, photographer Laurie Filgiano, art producer Kim Burchiel, agency producer Judy John, chief executive officer Leo Burnett Toronto (Toronto, Canada), ad agency Raising The Roof, client

3 Saji Johnny Kundukulam (Delhi, India), art director/writer/creative director Maira Kouvara, photographer Interpub, ad agency Aloor Forestry Association (AFA), client

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PUBLIC SERVICE 1 Alex Bell, art director Mike Foster, writer Kyle Curtis, creative director Arnie DiGeorge, executive creative director Debbie Bennett, producer Steve Wright, executive producer R&R Partners (Salt Lake City, UT), ad agency Utah Highway Safety Office, client “As part of a drunk-driving prevention campaign, prisonscented air fresheners were given away as a reminder that if you get a DUI, you will be arrested. Instead of trying to shout over the noise of auto shows and races with gigantic ads, we got people to spread our message for us by handing out air fresheners in a variety of offensive jailhouse scents. Once people picked one up, they immediately started showing it to others. More than 12,000 units were distributed.”

PUBLIC SERVICE TV 2 (series) “Book” :05, “Old Man” :05, “Kitchen” :05 “There’s a misperception by many people that being a Big Brother requires a large time commitment, and this is often the reason men choose not to volunteer. To show how easy it is to make a difference in a boy’s life, we created a series of short TV spots featuring a Big Brother being a positive role model to a young boy and reinforcing the fact that being a Big Brother may take less time than you think.”

Daryl Gardiner, art director/writer/associate creative director Cosmo Campbell/Dean Lee, executive creative directors Marc Laliberte Else, director of photography Daniel Pruger, editor GGRP, sound design James Spooner, sound engineer Peter Clarke, sound production Jonathon Hunter, director Randy Egan, colorist Isil Gilderdale, line producer Shannon Cherry/Dana Rudelier, agency producers OPC/Family Style, production company PostPro Media, post-production company DDB Canada (Vancouver, Canada), ad agency Big Brothers of Greater Vancouver, client

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PUBLIC SERVICE TV 1 “Luge” :30 “In June 2013, Russia passed anti-gay propaganda laws, breaking international law and making it illegal to hold any gay pride events or speak in defense of gay rights. The issue was a serious topic leading up to the Olympic Winter Games in Russia. We took a lighthearted approach to a very serious topic, to show just how absurd these laws are.”

Joel Holtby, art director Mike Dubrick/Aaron Starkman, writers Mike Dubrick/Joel Holtby, associate creative directors Ian Grais/Dre Labre/Chris Staples/Aaron Starkman, creative directors Anthony Scott Burns, director of photography/ editor/director Steve Gadsden/Christine Leslie, music Ta2 Sound + Music, music company Andrew Nguyen/Livio Passera/Peace Perkins/ Marco Polsinelli, visual effects artists Monika Ghobrial, broadcast producer Eugene Marchio, post-production producer TOPIX, production company/post-production company Rethink (Toronto, Canada), ad agency Canadian Institute of Diversity and Inclusion, client

2 “Keep BC Beautiful” 2:00 “There are four proposals from oil industry companies that would exponentially increase oiltanker traffic along British Columbia’s coastline.

When an Instagram user shares BC scenery, they often hashtag #beautifulbc. To demonstrate what that very scene could look like after an oil spill, relevant photos are retouched and sent back to the poster with the message: ‘Don’t let this happen to the place you love.’”

Jeremy Grice, art director/designer Ben Hudson/Rob Schlyecher, writers Rob Schlyecher, creative director Stace Barton, production designer Tina Furesz/Jeremy Grice/Janette Lodermeier/ Jessica Marte, post-production producers Tom Lamb, development partner Spring Advertising (Vancouver, Canada), ad agency Tar Sands Solutions Network, client

3 “The Backstory—Sex” 3:20 “The Backstory sheds light on the realities of human trafficking in an intensely personal and affecting way, weaving in simple, yet impactful ways college students can take action to help stop this humanrights atrocity. ‘Sex’ is just one in a series of powerful spots that aired on mtvU and feature dancers from Alvin Ailey American Dance Theater’s Ailey II, music scored by Kenna and narration by rapper Talib Kweli. All were inspired by real-life survivor stories.”

Erhan Erdem, writer Amy Campbell, creative director David Acampora, graphic designer Gala Verdugo, editor Matt Giordano, audio mixer Sophia Cranshaw, director/executive producer Laura Miller, producer MTV On-Air Promos (New York, NY), production company mtvU, client Communication Arts | commarts.com

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RADIO COMMERCIALS 1 “Algebra Land” :60 SFX: Suspenseful music.

Anncr. 1: This summer, escape to… Algebra Land.

Jingle: Algebra Land.

Anncr. 1: Venture to a land filled with algebraic structure. Take an epic journey and thrill as you solve polynomial equations.

Jingle: Algebra Land.

Anncr. 1: Feel your heart drop as you come face to face with real mathematicians.

Jingle: Algebra Land.

Anncr. 1: Experience quadratic equations like ax2 + bx + c = 0 as you compute the variables to express the unknowns in terms of the intermediates. Yes, live the adventure and visit…

Jingle: Algebra Land.

SFX: Fun music.

Anncr. 2: It’s hard to make algebra fun. But history? No problem. Experience historic Colonial Williamsburg, where we’ve made history fun.

Play RevQuest, where your family will use a cell phone to go undercover to find and solve clues to a mystery. And with swimming pools, golf, tennis and lots of other hands-on fun, you can make a little history of your own. Visit colonialwilliamsburg.com to book our Kids Stay, Play and Eat Free package.

Bob Meagher, associate creative director Trent Patterson, creative director Joe Alexander, chief creative officer Dave Hoffman, voice talent tonefarmer, music Rainmaker Studios, sound design Jeff McManus, sound engineer Kathy Lippincott, production supervisor Katie Der, producer Karen Baber, project manager The Martin Agency (Richmond, VA), ad agency Colonial Williamsburg, client

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2 “Troop Leader” :60 Troop Leader: To the parents of the campers in Troop 103, I’m sorry. I’m sorry your troop leader could not attend our first overnight camping trip and I was put in charge. I’m sorry my knowledge of the wilderness is limited to what I’ve seen from windows of comfortable hotels.

I’m sorry that didn’t prevent me from taking them hiking. And I’m really sorry I forgot the GPS. I’m sorry that when I ran back I noticed a Milky Way in Cooper’s tent. I’m sorry I was so into the chocolate, nougat and caramel I lost all track of time. And, soon thereafter, every member of Troop 103. I’m sorry it took three choppers, 37 state troopers and a team of bloodhounds to find them. I’m sorry when we found them, a pack of wolves had taken them in as their own. I’m sorry your children still howl at night, and in the day. I’m sorry I’ve optioned the film rights to their story. I’m sorry I was eating a Milky Way. Always prepared, Jon Ellis.

Former troop leader and Milky Way eater.

Matt Collier/Chuck Rachford/Wayne Robinson, writers/creative directors Mark Gross, executive creative director John Maxham, chief creative officer Nick Papaleo, audio mixer Will St. Clair, executive producer Diane Jackson, executive director of production DDB Chicago (Chicago, IL), ad agency Mars, Inc., Milky Way, client

3 “Autocorrect” :30 Tom Bodett: Hi, Tom Bodett. I tried to write this script on my smartphone, but I couldn’t figure out how to turn off the autocorrect feature. So you’ll have to trust me when I say that at Motel 6 you can still get a clam, comforter Rome for the loamiest rice of any national chin. You can brook by carving 1-800-4-MOTEL6, online or with our new mobile applesauce on your phone or toilet. Ugh, I hate this docking thong. I’m Tom Bordeaux for Motel 6, and we’ll heave the bright on farm you. Close enough.

Brittany Sarrett/Chris Smith, writers Tom Bodett, voice talent Tom Faulkner, music Glenn Ferguson, sound engineer Sheri Cartwright, agency producer Gannon Kennedy/Diana Schroeder, production company producers Post Op, production company The Richards Group (Dallas, TX), ad agency Melissa Eubanks/Lance Miceli, Motel 6, clients

4 (series) “Smell Details” :30 Anncr.: Smell details make a big deference.

That’s why Ford brake pats are installed by Ford-trained technicians for a perfect fit ovary time. Which should give you peas of mime.

Because when something’s not Quiet Riot, you can tell. Maybe not at verse, but event jelly.

Right noun get Ford Motorcraft brake pads from one forty-nine, ninety-nine, including a lifetime war and tea. It’s part of what we dude to keep your Ford running smoothie. When it comes to your Ford, Beware of Parts Unknown. Taxes extra. See participating stork for conditioners and details.

“Unch” :30 Anncr.: An unch. An unche. An uncheckedba.

An unchecked batteryc. An unchecked battery could me. An unchecked battery could mean you’ll have trouble getting started. Fortunately, the battery check is one of the eighty-three things Ford inspects during the Works. And all for only fifty-nine ninety-nine. When it comes to your Ford, Beware of Parts Unknown. Taxes extra. Visit your participating Ford store for condish. Conditionsand. Conditions and details.

“Silly Silly” :30 Anncr.: Only only your Ford store store offers the Works: an up to eighty-three point point inspection, including oil change change and required tire rotation rotation for fifty-nine ninety-nine. That’s win-win win-win. Some garages don’t don’t offer all that that, so you may have to make more than one one trip trip to get it done done. And doing doing the same thing more than once once is just silly silly. So when it comes to your Ford, Beware of Parts Unknown. Taxes extra. See participating participating store for conditions and details details.

Marc Caringal, art director Matt Fraracci, writer/associate creative director Mark Francolini/Trevor Schoenfeld/Jonathan Smith, creative directors Israel Diaz, chief creative officer Tom Goudie, Pirate Toronto, director Jac Benoit/Diane Kirk/Risa Sone, producers Y&R Toronto (Toronto, Canada), ad agency Ford Canada, client

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RADIO COMMERCIALS 1 “Best Dressed” :60 Music: Dramatic string music throughout.

Anncr.: His shadow frequently appears on bestdressed lists. On multiple occasions, he has vouched for himself. When he holds a woman’s purse, he looks intimidating. He can play Chopin.

On the drums. His tailgate parties have caused game delays. Eskimos have seven different words to describe his beard. Even his nod sounds like a plan.

Music: Reaches a crescendo.

Anncr.: He is the Most Interesting Man in the World.

Music: Switches to MIM music.

Most Interesting Man: I don’t always drink beer.

But when I do, I prefer Dos Equis. Stay thirsty, my friends.

Anncr.: Enjoy Dos Equis responsibly. Imported

by Cervezas Mexicanas, New York, New York.

Rick Cohen/Jon Vall, art directors Christian Beckett/Dan Berenson, writers Carlos Fernandez/Paul Fix, creative directors Christian Carl, executive creative director Lee Garfinkel, chief creative officer Kersten Mitton Rivas, managing director, creative Brett Fuchs, music Kiri Carch/Dave Evans, agency producers Sixth Sense Productions, production company/ post-production company Havas Worldwide (New York, NY), ad agency Heineken, Dos Equis, client

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2 “See, You Do Snore Daryl” :30 (Snoring victims can use Breathe Right nasal strips’ new mobile app, Sleep Clinic, to prove that their bedmate snores. During the night, a snore sample is uploaded to a server, then inserted into a customized radio ad that airs on the snorer’s favorite station the next morning.

These custom commercials are made thanks to pre-registering the snorer’s name and favorite radio station. When a snoring sample is received at the station, final assembly for air is ten minutes.)

SFX: Actual audio file of Daryl Mason snoring.

Anncr.: Daryl Mason of Sunnybrook Road in Markham, you’re probably asking yourself, “What is that horrible sound?” That noise is you. Last night when you said you were hitting the sack, you neglected to tell your wife, Patricia, that you were going to hit it repeatedly with a sick goose. Go to breatheright.ca and see how you and your wife can sleep better.

SFX: Snore. Snore.

Todd Lawson, art director James Ansley, writer Patrick Scissons, chief creative officer Matt Gauthier/Nathan Handy, sound engineers Adam Damelin, director Jay Gammy, producer Patty Moher/Darlene Remlinger, project managers Eggplant Collective, production company Grey Canada (Toronto, Canada), ad agency James Masterson/Kevin McRae, GlaxoSmithKline, clients

3 “Shake” :30 Tom Bodett (voice is vibrating): Hi. Tom Bodett here. You know, I’ve been telling folks about Motel 6 for over 25 years now. And while the general message stays the same—a clean, comfortable room for the lowest price of any national chain—I do have to shake things up now and then to stay relevant. That’s why I’m delivering this commercial while doing what the kids call “twerking.” Is it supposed to feel this exhausting? (Pause) And shameful? I’m Tom Bodett for Motel 6, and we’ll leave the light on for you. Book online at motel6.com.

David Eastman, writer Chris Smith, creative director Tom Bodett, voice talent Tom Faulkner, music Glenn Ferguson, sound engineer Sheri Cartwright, agency producer Gannon Kennedy/Diana Schroeder, production company producers Post Op, production company The Richards Group (Dallas, TX), ad agency Melissa Eubanks/Lance Miceli, Motel 6, clients

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TELEVISION COMMERCIALS 4 “Winter Warrior” :60 “For Canadians, a winter snowstorm can feel like a siege on our cities. Here we depict a city under siege by snow. But for dramatic effect, it’s a siege by evil, menacing snowmen embodying winter’s destructive force. They burst pipes, destroy power lines and trap vehicles. With its intuitive all-wheel drive, the Nissan Rogue becomes the only vehicle able to overcome the snow, smash the snowmen and be the hero winter needs.”

Susie Lee, art director/associate creative director Jonah Flynn, writer Rodger Eyre, creative director Allen Oke, executive creative director Chris Soos, director of photography Jeff Dates, computer generated imagery Mark Paiva, editor Johnny Okkerse, assistant editor Nathan Handy, sound engineer Eggplant Collective, sound production Adam Damelin, sound design executive producer Mark Zibert, director Mark Killingsworth/Shane Mahan, visual effects artists Andreas Berner/Kyle Cody, visual effects supervisors Alter Ego/Wade Odlum, colorists Neil Bartley, line producer Calvin Daniels, project director Nadya MacNeil, executive broadcast producer Michelle Rich/Liane Thomas/Melanie Wickham, executive producers Rimi Singh, project manager Jeremy Moore/Nicola Treadgold, post-production producers Sons and Daughters, production company Legacy Effects, visual effects company PosterBoy Edit/The Mill, post-production companies TBWA Toronto (Toronto, Canada), ad agency Mary McNeil/Brian Thomas, Nissan Canada Inc., clients

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TELEVISION COMMERCIALS 1 “Reader’s Passion” :55 “Most readers will agree that they got their love of reading from their moms. So we created a video for Kobo e-readers featuring real moms and their children, suggesting that perhaps this Mother’s Day, it was time to give it back.”

David Glen, art director Dhaval Bhatt, writer Kyle Lamb/Kurt Mills, associate creative directors Stephen Jurisic/Angus Tucker, executive creative directors Mattias Rudh, director of photography Chris Murphy, editor Relish, editorial company Vapor Music, music company Mark Zibert, director Ryan Bourret/Anne Marie Martignago, agency producers Moonlighting/Sons and Daughters, production companies 567vfx/Alter Ego/Crush Inc., post-production companies john st. (Toronto, Canada), ad agency Kobo Inc., client

2 (series) “Boardwalk” :15, “Meeting” :30 “Old Spice believes that if a man has great-looking hair, the world is his for the taking. With our Hair That Gets Results films, we aimed to show guys that when they use our new hair collection, they can not only make the most of their hair, but also open life’s pleasures and opportunities.”

Max Stinson, art director Jason Kreher, writer Craig Allen/Jason Bagley, creative directors Susan Hoffman/Joe Staples, executive creative directors André Chemetoff, director of photography Trent Shumway/Stefan Smith, Flame artists Gavin Cutler, editor Ryan Steele, assistant editor Rumblefish, music company Patrick Navarre/Loren Silber, sound engineers Lime Studios, sound production Tom Kuntz, director Alex Thomas, visual effects supervisor Emily Skinner, line producer Hayley Goggin/Sasha Hirschfeld/Jessica Locke/ Katie Reardon, producers Mikey Ecker, music producer Scott Howard, executive producer Ben Grylewicz, executive agency producer Tram Le/Claudia Lecaros, visual effects producers MJZ, production company Framestore, visual effects company Mackenzie Cutler, post-production company Wieden+Kennedy (Portland, OR), ad agency Old Spice, client

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TELEVISION COMMERCIALS 1 (series) “In the Doghouse” :30, “Road Trip Convenience Store” :30, “What’s the Fuss About?” :30 “To a dog owner, dogs are like people. Subaru gets that. This campaign lets us laugh at ourselves through the pets we love.”

Matt Pruett, art director Nick Nelson, writer Randy Hughes, executive creative director Dave Damman, chief creative officer Jason McCormick, SKUNK, director of photography Mick Uzendoski, Drive Thru, editor Echo Boys, music company BWN, sound design Brian Lee Hughes, SKUNK, director Derek Johnson, Drive Thru, visual effects artist Sean Coleman, Company 3, Telecine colorist Jeanne Stawiarski, SKUNK, production supervisor Joe Grundhoefer, integrated production director Geoff McLean, SKUNK, producer Laura Coyle, interactive producer Freddie Richards, executive integrated producer Matt Factor, SKUNK/Shelly Townsend, SKUNK/Beth Wilson, Drive Thru, executive producers Carmichael Lynch (Minneapolis, MN), ad agency Subaru of America, client

2 “The Phone Call” :60 “RadioShack was the best electronics store of the 1980s. The problem is, they never left the 1980s.

Public perception of their outdatedness was so bad that RadioShack had become a national joke on late night talk shows and across the rest of media. Our goal? To change this perception in one commercial during Super Bowl XLVIII, the most-watched TV event in United States history. The idea of this film is simple: The 1980s called. They want their store back. Notable celebrities from the 1980s invade a RadioShack to take back their old stuff and make room for the store of the future. By tackling the issue head-on, we finally got the world to laugh with us and not at us.”

Tim Eger, art director Tom Hamling, writer Tim Eger/Tom Hamling, creative directors Scott Brewer/Ryan Carroll, group creative directors Jay Russell, executive creative director Jimi Whitaker, director of photography Jay Nelson, editor Frank Todaro, director Susie Carlson, stylist Laura Heflin, line producer Klaudia Flanigin/Haley Rushing, planners Flo Babbitt/Allison Wagner, agency producers Bill Wine/Karol Zeno, executive producers Ryan Gallagher, project manager Moxie Pictures, production company GSD&M (Austin, TX), ad agency RadioShack, client

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TELEVISION COMMERCIALS 1 “Taste Test – Extended” :60 “In a world where coffee is iced, flavored and sold in giant plastic cups, Nabob stands apart with its belief in the sanctity of a good, simple cup. So we took our cameras and some of these coffee shop abominations to the coffee farmers of Colombia to get their take on where coffee seems be headed in North America.

Every reaction, every comment, every spit and every display of disgust was real and unscripted.”

Catherine Allen, art director Ian Simpson, writer Ian MacKellar, chief creative officer Stuart Campbell/Chris Mably, directors of photography Stephen Sora, editor Brad Nelson, music Cylinder Sound, music company Henry Lu, director Leanne McLellan, agency producer Soft Citizen, production company Ogilvy & Mather Toronto (Toronto, Canada), ad agency Kraft Canada, client

2 “Cozies” :15 “In an attempt to steal thunder and market share from the Postal Service’s successful Flat Rate Box product, FedEx introduced One Rate shipping in October 2013.

In our ‘Cozies’ commercial, a family is over-whelmed when they receive an astounding amount of knitted gifts from Grandma via FedEx One Rate.”

Gianfranco Arena, art director Peter Kain, writer Gianfranco Arena/Peter Kain, creative directors Mike Smith, executive creative director David Lubars/Greg Hahn, chief creative officers Hornet, end graphics Jason MacDonald, editor NO6, editorial company Aaron Stoller, director Sangeet Pillai, planner Amy Wertheimer, executive agency producer Biscuit Filmworks, production company BBDO New York (New York, NY), ad agency FedEx, client

3 “Nana” :30 “Cheerios is about love. And no other cereal brand can talk about love better than Cheerios. So we created ‘Nana,’ which tells an emotional story about the love of Cheerios bringing family members from different generations together.”

Jacqueline Mellow, art director Mike Maher, writer Johnnie Ingram, creative director Justin Ebert/Peter Moore Smith, executive creative directors Rodes Ponzer, managing director, creative Andrij Parekh, Community Films, director of photography Jim Ulbrich, Beast, editor Matt Smukler, Community Films, director Carr Donald, Community Films, line producer Tanya LeSieur, integrated production director Eric Korte, music producer Mark Sherwood, integrated producer John Doris/Dani Stoller, executive broadcast producers Carl Swan, Community Films, executive producer Beast/Community Films, production companies Saatchi & Saatchi New York (New York, NY), ad agency General Mills, client 176

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TELEVISION COMMERCIALS 1 (series) “Pillsbury Doughboy” :30, “Dracula” :30, “Hump Day” :30 “So how happy are customers who save hundreds of dollars with GEICO? We’re glad you asked.”

Sean Riley, art director/creative director Ken Marcus, writer Wade Alger/Steve Bassett, group creative directors Joe Alexander, chief creative officer Mackenzie Cutler, editorial company Emily Taylor, producer Samantha Tucker, agency producer Molly Schaaf, executive agency producer Susan Karns, project manager Hungry Man, production company The Mill, visual effects company The Martin Agency (Richmond, VA), ad agency GEICO, client

2 “Pick Them Back Up” 2:00 “For the Olympic Winter Games in Sochi, Procter & Gamble once again honored the amazing moms behind Olympic athletes. This time, we acknowledged all the times our moms were there to pick us back up, dust us off and encourage us to try again. It’s these little moments of emotional support from our moms that eventually lead to the bigger things that we accomplish in life.”

Ollie Watson, art director Kevin Jones, writer Kevin Jones/Ollie Watson, creative directors Susan Hoffman/Joe Staples, executive creative directors Adam Carter/Joe Chiechi/Erin Clark/Kirk Shintani, computer generated imagery Andy Bate/Patrick Murphy/Steve Wolff, Flame artists Peter Wiedensmith, editor/sound designer Kristy Faris, assistant editor Joint Editorial, editorial company Ludovico Einaudi, music composer Eleven, music company Jeff Payne, audio mixer Lance Acord, director Patrick Murphy, visual effects supervisor Caroline Kousidonis, line producer Jason Hamilton, production designer Dave Burg, planner Caroline O’Sullivan, music producer Erika Madison, senior broadcast producer Patty Brebner/Mary Ann Marino/Megan Meloth/ Jennifer Sofio Hall, executive producers Kim Christensen, visual effects producer Ryan Shanholtzer, post-production producer Ben Grylewicz, executive director of production Park Pictures, production company a52, visual effects company Wieden+Kennedy (Portland, OR), ad agency Janet Fletcher, Procter & Gamble, client

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TELEVISION COMMERCIALS 1 “Childlike Imagination” :60 “Children have wild imaginations. General Electric makes inventive and innovative things that can seem almost unbelievable. Put these two together and you have ‘Childlike Imagination,’ a journey into a child’s imagination as she envisions all the amazing things her parent makes as a General Electric employee.”

Eric Goldstein, art director Nick Sonderup, writer Eric Cosper/Eric Goldstein/Nick Sonderup, creative directors Michael Aimette, executive creative director David Lubars/Greg Hahn, chief creative officers Benoit Delhomme, director of photography Rick Lawley, editor Whitehouse Post, editorial company Barking Owl, music company Dante Ariola, director Jeff Kenyon/Gordon McLean, planners Rani Vaz, agency music producer Anthony Nelson, executive agency producer MJZ, production company BBDO New York (New York, NY), ad agency General Electric, client

2 (series) “RZN” :30, “Covert” :30, “Lunar” :30 “Nike Golf’s new line of balls, clubs and shoes are innovative, but a hard sell to golfers who tend to find something that works and stick with it. Rejecting better equipment simply because it’s new is foolish, so instead of trying to explain the superiority of the new products to change-fearing golfers, we gave them the microphone and let their ignorance speak for itself.”

Derrick Ho/Omid Rashidi, art directors Brock Kirby, writer Don Shelford/Rob Thompson, creative directors Susan Hoffman/Joe Staples, executive creative directors David Potter, motion graphic designer Mandy Walker, director of photography Krysten Richardson, artist Michael Gersten, motion graphics Matthew Hilber, editor Alyssa Coates/Steve Sprinkel, assistant editors Joint Editorial, editorial company/visual effects company Extreme Music, music company Luis Rosario, audio mixer Steve Rogers, director Brandon Thorton, planner Jeff Selis, agency producer Jay Veal/Holly Vega, production company producers Patty Brebner, post-production supervisor Lauren Pullano, post-production producer Ben Grylewicz, executive director of production Biscuit Filmworks, production company Wieden+Kennedy (Portland, OR), ad agency Nike, client

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TELEVISION COMMERCIALS 1 “Skittles Smile” :30 “Wondering why Louis never smiles, Penelope investigates and leaves Louis a changed man.”

Marisa Groenweghe, art director Kathleen Tax, writer Marisa Groenweghe/Kathleen Tax, creative directors Mark Gross, executive creative director Ewan Paterson, chief creative officer Carlos Lowenstein, editor Whitehouse Post, editorial company Randy Krallman, director Rob Churchill, Telecine and visual effects director Fred Keller, colorist Diane Jackson, integrated production director JoJo Scheerer, producer Will St. Clair, executive producer Brian Carmody/Paula Cohen, production company producers Derek de Board/Lisa Long, post-production producers Smuggler, production company Filmworkers, post-production company DDB Chicago (Chicago, IL), ad agency Mars, Inc., Skittles, client

2 “Pinocchio” :30 “Did You Know—Pinocchio Was a Bad Motivational Speaker?”

Justin Harris/Neel Williams, associate creative directors Wade Alger/Steve Bassett, group creative directors Joe Alexander, chief creative officer Eric Schmidt, director of photography The Mill, animation Matt Wood, editor Caleb Hepler, assistant editor Whitehouse Post, editorial company Rainmaker Studios, audio mixer Steve Miller, director Randy McEntee, visual effects supervisor Tim Masick, colorist Barbara Benson, line producer Collin Blaney/Emily Taylor, producers Alex Sheer-Payne, agency producer Zu Al-Kadiri/Dan Bryant/Gregg Carlesimo, executive producers Molly Schaaf, executive agency producer Emily Masters, project manager @radical.media, production company The Martin Agency (Richmond, VA), ad agency GEICO, client

3 “Dad’s Sixth Sense” :30 “The all-new Hyundai Genesis features Automatic Emergency Braking, which automatically applies the brakes if a crash is imminent. To illustrate this parallel, we tell the story of a father repeatedly saving his son from danger over the years, until the son is sixteen and it’s the Genesis that saves the son—just like Dad always has.”

Vince Feliciano, art director Josh Cassidy/James Embry, writers Max Godsil/Robert Prins, creative directors Greg Braun, executive creative director Arcade Edit, editorial company Frank Todaro, director Jamil Bardowell/Harry Lowell, agency producers Moxie Pictures, production company INNOCEAN USA (Huntington Beach, CA), ad agency Hyundai Motor America, client Communication Arts | commarts.com

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TELEVISION COMMERCIALS 1 “Eye of the Squirter” :30 “Building on the success of our launch of MiO Sport, we wanted to do something unexpected in the world of sports-drink marketing. So, to own the lighter side of sports, we transformed the out-ofshape office worker from our previous commercials into an elite athlete and married this with the worldfamous sports anthem ‘Eye of the Tiger.’ The result was ‘Eye of the Squirter,’ a hyperbolic demonstration that there truly is a squirt for every sport.”

Mike Lee, art director/designer Mike Blackmore/Mike Lee/Mike Schuman, writers Mike Blackmore/Mike Lee, associate creative directors Jeff MacEachern, creative director Lance Martin, executive creative director Tico Poulakakis, director of photography Josh Clifton, animation Sean Cochrane, computer generated imagery/ visual effects artist Griff Henderson, editor PosterBoy Edit, editorial company Eggplant Collective, music company Alter Ego, colorist Michael Walker, production designer Ben Sharpe, agency producer Adam Damelin, music producer Andrew Graham, production company producer Steam Films, production company The Vanity, post-production company TAXI Canada (Toronto, Canada), ad agency Chris Bell/Kristi Murl/Leisha Roche, Kraft Canada, clients

2 (series) “Wonderfilled Anthem” 1:30, “Bedtime” :30, “Replay” :30 “Animation, song and childlike wonder unite to show the transformative power of Oreo.”

Chris Peel, associate creative director Magnus Hierta/David Muhlenfeld, creative directors Jorge Calleja, group creative director Joe Alexander, chief creative officer Martin Allais, illustrator/animation Ashby Wratchford, Flame artist English Major/David Muhlenfeld, music Black Iris, audio mixer Caroline Helms/Maria Soler Chopo, producers Heather Tanton, broadcast producer Kathy Lippincott, senior broadcast producer Steve Humble, executive broadcast producer Jenn Stuart, project manager Studio Animal, animation company Running With Scissors, post-production company The Martin Agency (Richmond, VA), ad agency Mondelēz International, Inc., client

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TELEVISION COMMERCIALS 1 (series) “Captain Obvious” :60, “Obvious Lies” :30, “Obvious Eye Contact” :30 “Founded in 1991, Hotels.com was one of the original web destinations for booking hotels. But in a cluttered travel market with quirky URLs, the site started to feel stale. To solve this, we turned their biggest weakness into a strength. Quite simply, Hotels.com is the obvious choice for booking a hotel online. It’s so obvious, in fact, that there was only one man who could help get the word out: Captain Obvious.”

Bryan Lee/Marc Wilson, art directors Stephen Dalton/Ross Saunders, writers Andrew Lincoln/Matt Talbot, creative directors Dan Donovan/Dave Swartz, group creative directors Sam Levy, director of photography Tom McCullough, Flame artist Kevin Zimmerman, editor NO6, editorial company Joel Lieb/Joel Simon, music composers JSM Music, music company Heard City, sound design Stacy Wall, director Damien Van der Cruyssen, Telecine colorist Kate Higgins, project director Jason De Turris/Brian O’Connell, planners Aaron Kovan, executive integrated producer Chrissy Wamsher, broadcast producer Charlie Cocuzza/Doug Halbert/Ross Hopman, executive producers Andrew Travelstead, production company producer Adam Barger/Kelly Olech/Caleb Zimmerman, project managers Chad Hopenwasser, executive director of production Imperial Woodpecker, production company Method, post-production company CP+B (Boulder, CO), ad agency Nicholas Hayes/Melissa Nguyen/Neha Parikh, Hotels.com, clients

2 “Barnes Sisters” :60 “The Guinness Made of More campaign celebrates acts of dedication and courage, the choices that reveal our character. In the lead-up to the 2014 Winter Olympics, Guinness shared the true story of the Barnes twins.

Both biathletes, their dream was to compete in the games together. At the trials, Tracy qualified, but Lanny fell sick and missed the cut. What Tracy did next astounded her sister and everybody else.”

Jim Cancelliere, art director Jon Yasgur, writer Tom Darbyshire, executive creative director David Lubars/Greg Hahn, chief creative officers Greg Miller, photographer Steve Choo, animation My Active Driveway, editorial company/postproduction company Andrew Knox Music, music company David Rolfe, integrated production director Sarah Greeley/Gordon McLean, planners Whitney Collins, agency producer Loren Parkins, agency music producer BBDO New York (New York, NY), ad agency Diageo, client

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TELEVISION COMMERCIALS 1 “The Big Leap” :60 “This film is an epic story of a first kiss and a man overcoming his fears to show a woman he loves her.

It is a metaphorical plunge into the unknown. It debuted Lacoste’s tagline ‘Life is a beautiful sport,’ a challenge that demands courage in an incredible playground.”

Gabrielle Attia/Damien Bellon, art directors Gabrielle Attia, writer Remi Babinet/Antoine Choque, creative directors Schmooze, sound production Seb Edwards, director Michele Bertona, production coordinator Clement Boisseau, planner Patrick Barbier/Romain Cavagnac/David Green, producers Wanda Productions, production company MPC, visual effects company BETC (Paris, France), ad agency Lacoste, client

2 “They Lived” :30 “Inspired by letters from real Subaru owners, a Subaru gives its life to save its occupants.”

Michael Rogers, art director Conn Newton, writer Conn Newton/Michael Rogers, associate creative directors Randy Hughes, executive creative director Dave Damman, chief creative officer Lance Acord, Park Pictures, director of photography/ director Stephen Jess, Whitehouse Post, editor Tim Quackenbush, Whitehouse Post, assistant editor Miles Hankins, music composer Carl White, BWN, sound design/audio mixer Steve Medin, Volt, visual effects artist Sean Coleman, Company 3, Telecine colorist Aristides McGarry, Park Pictures, line producer Joe Grundhoefer, integrated production director Brynn Hausmann, executive integrated producer Mary Ann Marino, Park Pictures, executive producer Carmichael Lynch (Minneapolis, MN), ad agency Subaru of America, client

3 “Gracie” :30 “No other cereal brand can talk about love better than Cheerios. Since Cheerios is committed to every kind of family, we created ‘Gracie.’ After the interracial family in the ‘Just Checking’ spot sparked a national debate, Cheerios brought them back for a sequel—this time during the Super Bowl.”

Taylor Lucas, art director Nick Marchese, writer Justin Ebert/Peter Moore Smith, executive creative directors Rodes Ponzer, managing director, creative Tami Reiker, Community Films, director of photography Jim Ulbrich, Beast, editor Matt Smukler, Community Films, director Carr Donald, Community Films, line producer Tanya LeSieur, integrated production director Eric Korte, music producer Mark Sherwood, integrated producer John Doris/Dani Stoller, executive broadcast producers Carl Swan, Community Films, executive producer Beast/Community Films, production companies Saatchi & Saatchi New York (New York, NY), ad agency General Mills, client 188

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TELEVISION COMMERCIALS 1 (series) “Bear” :30, “Dogsled” :30, “Handball” :30 “This campaign expands upon the aspirational legend of the Most Interesting Man in the World through a series of vignettes and humorous facts about his remarkable life. His extraordinary experiences are meant to encourage the target audience to ‘Stay Thirsty’ by striving to live their own lives as interestingly as possible.”

Rick Cohen/Matt Hock/Jon Vall, art directors Christian Beckett/Dan Berenson/Marty Bonacorso/ David Fredette, writers Carlos Fernandez/Paul Fix/Jamie Overkamp, creative directors Christian Carl/Jim Hord, executive creative directors Lee Garfinkel/Darren Moran/Jason Peterson, chief creative officers Kersten Mitton Rivas, managing director, creative Eric Schmidt, photographer Brett Fuchs, music Steve Miller, director Dave Evans/Jill Meschino/Matt Sausmer, executive producers @radical.media, production company Outside Edit + Design/Studio 6, post-production companies Havas Worldwide (New York, NY), ad agency Heineken, Dos Equis, client

2 “Perfect Day” :60 “The centerpiece to Sony’s PS4 Greatness Awaits campaign pits two gamers against each other. They sing Lou Reed’s haunting ballad ‘Perfect Day’ as they battle through three game worlds recreated in live action. The film, directed by Matthijs van Heijningen, helped launch Sony’s next-generation PS4 game console and has more than eighteen million YouTube views to date.”

Gerard Caputo/Chris Maiorino, creative directors Ari Weiss, executive creative director John Patroulis, chief creative officer Joost van Gelder, director of photography Circus/Union Edit, editorial companies Human, sound design Tom Jucarone, sound engineer Matthijs van Heijningen, director Robin Brown, production designer Justin Booth-Clibborn, integrated production director Donald Taylor, producer Kate Morrison, agency producer Jennifer Moore Bell, senior broadcast producer Scott Howard/David Zander, executive producers MJZ, production company The Mill, visual effects company BBH New York (New York, NY), ad agency PlayStation, client

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TELEVISION COMMERCIALS 1 “Beat Average” :60 “The forces of average are out there, tempting you to sleep through your morning workouts and tricking you into ravaging those cookie jars and pastry shelves.

But here’s the thing about average. It’s only average.

And you? You are anything but. This commercial demonstrates that with a little help from GNC, you can always beat average.”

Doug Pedersen, art director Dean Buckhorn, writer Dean Buckhorn/Doug Pedersen, creative directors Marty Senn, executive creative director Dave Damman, chief creative officer Kasper Tuxen, MJZ, director of photography Andrew Romatz, a52, computer generated imagery Patrick Murphy, a52, Flame artist/visual effects supervisor Eric Zumbrunnen, Final Cut, editor Scott Butzer/Collin Davis, Final Cut, assistant editors Gus Kovan, Stimmung, sound design Rohan Young, Lime Studios, audio mixer Mike Mills, MJZ, director Mark Gethin, MPC, Telecine colorist Youree Henley, MJZ, line producer Joe Grundhoefer, integrated production director Jennifer David/Heather Johann, a52, producers Megan Meloth, a52/Emma Wilcockson, MJZ, executive producers Carmichael Lynch (Minneapolis, MN), ad agency GNC, client

2 (series) “Rice Jar” :30, “Finger Prints” :30, “Mugger” :30 “In the United States, wireless companies make you wait two whole years to upgrade your old phone.

But living with an old phone can be incredibly frustrating. This campaign follows one man’s ordeal living with his outdated, broken-down phone over those 730 days. Fortunately, T-Mobile’s JUMP! (Just Upgrade My Phone) program allows customers to upgrade whenever they want, not when they’re told.

This program was the first of its kind, spawning copy-cat programs across the telecommunications industry.”

Andy Nordfors, art director Keith Wisniewski, writer Andrew Christou/Kevin Roddy, chief creative officers Adam & Dave, director Debbie Chin, producer Arts & Sciences, production company Publicis Seattle/Riney (Seattle, WA), ad agency T-Mobile USA, client

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TELEVISION COMMERCIALS 1 “Bellies” :20 “Bellies are no match for the powerful acceleration of the new Volkswagen Golf GTD. We demonstrated the humorous physical effect it has on people.”

Patrick Shing, art director Cooper Evoy, writer Christina Yu, creative director John Houtman, director of photography Chris Parkins, editor Rooster Post Production, editorial company Eggplant Collective, sound design Adam Damelin, audio mixer Curtis Wehrfritz, director Geoff McLean, line producer Anna Tricinci, agency producer James Davis/Lexy Kavluk, executive producers Untitled Films, production company Red Urban (Toronto, Canada), ad agency Volkswagen Canada, client

2 “Jingle Hoops” :30 “NBA stars play ‘Jingle Bells’—and show off the NBA’s new Christmas Day jerseys—with the most festive three-point shooting ever.”

Rus Chao/Kevin Koller, associate creative directors Nick Klinkert/Adam Reeves, creative directors Jeff Goodby, executive creative director Eric Steelberg, director of photography Matt Murphy, editor Nate Connella/Tara Wall, assistant editors Final Cut, editorial company Michael Anastasi, sound designer Barking Owl/Kelly Bayett, sound design Whitney Fromholtz, sound production Brock Babcock, audio mixer Jonathan Klein, director Casey McIntyre/Brendan Smith/Will Voss, visual effects artists Jake Montgomery/Eric Pascarelli, visual effects supervisors Angie Revell, line producer Suzy Ramirez/Benton Roman/Juliet Tierney, producers Saima Awan/Asher Edwards/Tod Puckett, executive producers Ralph Laucella, production company producer Cindy Fluitt, executive director of production O Positive, production company Moving Picture Company, visual effects company Goodby Silverstein & Partners (San Francisco, CA), ad agency National Basketball Association (NBA), client

3 “Mom’s Date” 1:30 “An insecure middle-aged mom prepares for her first date in decades. With the help of her daughter and a Hallmark card, she realizes she’s a catch, gaining the confidence she needs to venture out.”

Kate Harding-Jackson, art director Adam Ferguson, writer Matt Miller/Jo Shoesmith, creative directors Susan Credle, chief creative officer Aardvark Music, music company Tom Keramidas, executive producer Gartner Films, production company Whitehouse Post, post-production company Starcom MediaVest Group, media agency Leo Burnett Chicago (Chicago, IL), ad agency Hallmark, client Communication Arts | commarts.com

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TELEVISION COMMERCIALS 1 “Basketball” :60 “We see an intense game of wheelchair basketball.

At the end of the game, five out of the six players get out of their chairs and leave the court with their one friend, who is disabled. The group heads to a local bar for a pint of Guinness to close out the evening. The ad ends by revealing the brand’s tagline, dedicated to those who are ‘Made of More.’”

Dan Lucey, art director Chris Beresford-Hill/Tom Kraemer, writers Chris Beresford-Hill/Tom Kraemer/Dan Lucey, creative directors Greg Hahn/Mike Smith, executive creative directors David Lubars, chief creative officer Simon Duggan, director of photography Work Editorial, editorial company Noam Murro, director David Rolfe, integrated production director Gordon McLean, planner Loren Parkins, agency music producer Tricia Lentini, senior broadcast producer Kevin Wilson, executive agency producer Biscuit Filmworks, production company BBDO New York (New York, NY), ad agency Diageo, client

2 (series) “Nature Painting” :60, “Let’s Do That” :60, “The Date” :60 “This campaign shows how Subaru’s Symmetrical All-Wheel Drive ignites the adventurous spirit of young adults.”

Brad Harrison/Michael Rogers, art directors William Bloomfield/Conn Newton, writers Brad Harrison/Conn Newton/Michael Rogers, associate creative directors Randy Hughes, executive creative director Dave Damman, chief creative officer Lance Acord, Park Pictures, director of photography/ director Stephen Jess/Rick Lawley, Whitehouse Post, editors Brandon Porter/Tim Quackenbush, Whitehouse Post, assistant editors Carl White, BWN, sound design/audio mixer Steve Medin, Volt, visual effects artist Sean Coleman, Company 3, Telecine colorist Aristides McGarry, Park Pictures, line producer Joe Grundhoefer, integrated production director Brynn Hausmann, executive integrated producer Mary Ann Marino, Park Pictures, executive producer Carmichael Lynch (Minneapolis, MN), ad agency Subaru of America, client

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TELEVISION COMMERCIALS 1 (series) “Momsong” :60, “Bowling” :15, “Tree” :15 “There is a moment every young guy waits for: the transition into manhood and all the perks of not being a kid anymore. But there is one person who doesn’t want these guys to grow up so fast—their moms. Instead of seeing the men they’re becoming, moms love them so much they only see the little boys they raised. They want to keep them that way for as long as they can. This campaign showcases mothers protesting against Old Spice for turning their little boys into great-smelling men who are growing up and getting attention from the ladies.”

Ruth Bellotti, art director Justine Armour/David Povill, writers Craig Allen/Jason Bagley, creative directors Susan Hoffman/Joe Staples, executive creative directors Ryley Brown, director of photography Tim Davies, Flame artist Jim Hutchins, editor Patrick O’Leary, assistant editor HutchCo, editorial company Brad Neely, music composer Walker, music company Brock Babcock, sound engineer Barking Owl, sound production Steve Ayson, director Steve Anderson, visual effects supervisor Mark Hall, line producer Whitney Fromholtz/Abbey Hickman/Adam Reeb, producers Sara Matarazzo, music producer Sue Troyan/Emma Wilcockson, executive producers Ben Grylewicz, executive agency producer Arielle Davis, visual effects producer Jane Hutchins, post-production producer MJZ, production company The Mill, visual effects company Wieden+Kennedy (Portland, OR), ad agency Old Spice, client

2 “Beginnings” :60 “This commercial is the celebration of the entrepreneurial spirit and the humble beginnings of some of the great companies of our time. It is a reminder that with vision, audaciousness and the right technology, anything is possible—no matter if your company started in a dusty basement, the spare bedroom or even in a dorm room.”

Fern Cohen/Margot Owett, creative directors Jim Radosevic, executive creative director Jim Elliott, chief creative officer Darren Lew, director of photography Tomas Jonsgården, director Taylor Schomann, associate producer Rachel Rauch, music producer Jessica Dierauer, executive integrated music producer Magnus Akerstedt/Jeff Baron, executive producers Craig Jelniker, executive agency producer Letitia Jacobs, executive director of production Y&R New York (New York, NY), ad agency Dell, client

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© Visnja Jovanovic

FRESH

Manasteriotti∞Marić manasteriotti.com

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Location: Zagreb, Croatia.

Duration: Our studio was founded in late 2010.

Staff: Two full time, but we regularly work with illustrators, photographers and web designers on larger projects.

Education: Igor Manasteriotti graduated from Rhode Island School of Design, Mia Marić graduated from the University of Zagreb.

Influences: Twentieth-century masters of visual identity design such as Paul Rand, Stefan Kanchev, Chermayeff & Geismar, Walter Landor, Herb Lubalin. We try to achieve that same level of timelessness, simplicity and boldness in our work.

Work environment: The first floor of our house is our studio. Not wasting time in traffic is a blessing. Creative work usually gets done in the evenings, when the phone doesn’t ring and e-mails stop coming.

Technique: We focus on making authentic designs that tell a simple story. Each project should touch an emotion, either through wit, humor or craft.

Philosophy: Always work with a concept and stay away from empty decoration.

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1 “Campaign visual from a CLOX Cake Collection series. CLOX is the first brand of stilettos to feature functioning clocks.” Mladen Saric, art director/photographer; CLOX, client.

2 “Villa Dalmatina is an adults-only hotel located on the Island of Brač in Croatia. We employed a symbol of the lion found in the crest of the city of Bol, where the villa is located. Framing the lion’s face with stylized sun rays creates an inviting, yet mystical symbol of summer.”

Villa Dalmatina, client.

3 “As part of the rebranding of a Croatian county, we designed a visual identity and created the slogan ‘Doors Wide Open.’ These red and white wine bottles with flip-out labels were part of the many souvenir ideas produced for the county.” Virovitica-Podravina County, client.

4 “Didino (Grandpa’s) is a brand of extra-virgin olive oil. The package design was silkscreened onto a jute-like textile and sewn into a custom sack for the bottle, which protects the oil from the sun. The logo is based on Grandpa’s walking cane.” Petra Despot, writer; Vlaho Jemin, client.

5 “Osijek Brewery was the first brewery in Croatia, founded in 1697. For this winter edition of its beer, we used a simple neck label to make the bottle resemble Santa Claus.” Osijek Brewery, client.

6 “Each unique Mammii necklace is braided by hand in a process that takes days to complete. We captured that repetitive movement in the company’s logotype, and the packaging was designed to distinguish and protect the pieces.” Mammii Jewellery, client.

7 “Heraldi is a men’s fashion store in Zagreb that sells brands such as Strellson, Canali, JOOP and Church’s shoes. Inspiration for the logo came from the fine textile weave found in men’s suits. It was stylized to portray a premium look, with a letter H visible in the negative space.” Diversus res d.o.o., client.

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Billy Kidd billy-kidd.com

Location: Brooklyn, New York.

Duration: Three years.

Staff: One assistant.

Education: Self-taught; I was a college dropout when I found photography.

Cultural influences: I was raised in Arizona and, despite having lived in Brooklyn for five years, I’m still heavily influenced by the deserts, Native Americans and cowboys.

Artistic influences: Irving Penn, Richard Avedon, Man Ray, Wong Kar-wai, Yohji Yamamoto and Egon Schiele.

Big break: My summer story “Hommage” for Numéro magazine in 2013.

Work environment: In my studio there are lots of windows and natural light.

Maintaining a fun, intimate environment is very important to me.

Philosophy: Beauty is what I believe beauty to be.

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1 “For Details magazine, we photographed foot-

3 “This assignment for BlackBook magazine was

wear and accessory designer Armando Cabral in cobalt to teal, Yves Klein to azure. These familiar blues look effortlessly modern on a stylish businessman like Cabral.” Rockwell Harwood, creative director; Benjamin Sturgill, stylist; Details, client.

my first portrait of a major artist after I moved to New York. Pharrell Williams announced that he wasn’t going to do a ‘flash dance,’ so this was the only moving image of him I got. Yet it came out incredibly.” Stephanie Swanicke, photo editor; Jason Daniels, creative director; BlackBook, client.

2 “Model Marloes Horst was always on the top of my list of women to collaborate with on a story. We shot a series of images for Oyster magazine focusing on her natural beauty, with touches of fashion.” Dianna Lunt, stylist; Oyster, client.

4 “We shot model Felix Gesnouin in a run-down motel for Numéro Homme magazine’s Los Angeles issue. I like for my subjects to act naturally and move as they normally would.”

Charles Varenne, stylist; Numéro, client.

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5 “To bring something new to Italian Vogue readers, I chose to shoot all new faces for this beauty spread. We kept model Riley Montana very natural, to show off her beautiful skin.” Guilio Martinelli, stylist; Italian Vogue, client.

6 “An image from a lookbook for John Galliano’s Autumn/Winter 2013 fashion collection.”

Galliano, client.

7 “We shot model Luma Grothe for Grey Magazine as if it were a series of painted portraits.” Valentina Ilardi Martin, stylist; Grey Magazine, client.

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© Chung Hey Wang

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Juliana Wang julianawang.com

Location: London, United Kingdom.

Duration: Since 2013.

Education: BA in graphic design from Central Saint Martins and postgraduate studies at The Prince’s Drawing School.

Cultural influences: Being a British-born Chinese, I’ve been heavily influenced

by Western art and only recently discovered Chinese painting through my studies at The Prince’s Drawing School.

Artistic influences: Geniuses Sempé and Matisse for their use of line. Tomer Hanuka, Käthe Kollwitz and Gauguin for their strong shapes and composition. I’m looking at lots of collage recently and loving John Stezaker, amongst others.

Big break: An urgent call from a design studio in Berlin for a Das Magazin doublespread depicting the protests in Brazil against rising costs and underfunded public services.

Work environment: I share a clothesfactory-turned-studio in Haggerston, East London, with another painter and illustrator.

Technique: Painting with Chinese ink on several different layers, then scanning into Photoshop for further development.

Philosophy: Work hard, don’t get complacent, and keep pushing yourself with ideas and process.

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1 “After exhibiting at the Illustrative Festival last summer, I received a brief from a design studio based in Berlin. Working within a tight deadline over a weekend, I created this dense illustration capturing the Brazilian protests and using a specific color palette to reference their flag.” Frauke Schnoor, designer; Das Magazin, client.

2 “This piece was my response to a story by neurologist Oliver Sacks about a patient named Rebecca. She is inhibited with social difficulties, but finds a release in more creative environments. This structure is more supportive than the routine medical testing she had endured before: ‘I come apart, I unravel, unless there’s a design.’”

Personal work.

3 “I was invited to paint on the theme of ogres

5 “This illustration was loosely inspired by Pedro

as part of an exhibition at the National Archaeological Museum in Paestum, Italy.

My painting celebrates the destruction and chaos they leave behind, and my ogre gleefully runs away from the damage he caused.”

Orchinfabula Exhibition, client.

Almodóvar’s fantastic film The Skin I Live In. With a strong palette of reds and two figures isolated in a surreal environment, I aimed to capture the disturbing world he creates between two characters with mutated identities.” Personal work.

4 “In this illustration for a book review of Nicholson Baker’s Traveling Sprinkler: A Novel, I wanted to capture the mundanity of adult life and the protagonist’s attempt to reignite his poetry.” Graham Tuckwell, art director; Financial Times Weekend, client.

6 “One of a series of three illustrations for an article in XXI magazine about the damaging pesticide use in French vineyards. Playing with the typical romantic depiction of vineyards, I injected an acidic yellow and shrouded the realities of pesticide use with vine leaves.” Quintin Leeds, art director; XXI, client.

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Hegarty on Creativity There Are No Rules

By John Hegarty 127 pages, hardcover, $14.95 Published by Thames & Hudson thamesandhudson.com

I’m a big fan of John Hegarty. The man is a giant in the advertising business. For more than 30 years, his work has inspired a generation of creatives, not just in the United Kingdom, but around the world. Hegarty has seen it all. If there have been mines to step on, he’s stepped on them. If there are secret passages to the top of this profession, he’s found them all.

But here’s the thing about giants: We expect mighty insights from them, profound knowledge carried down from the mountain. Anything less and we feel somehow cheated, that the giant has chosen to keep his gold locked away in a personal vault, only revealing the most meager nuggets of wisdom to the likes of us.

Hegarty on Creativity has drawn no small amount of criticism, most notably in a scathing Financial Times review in which Henry Mance called the book “vapid.” Mance wrote, “If platitudes could kill, Sir John would need a lawyer.” I’ll admit that much of the book’s 120-plus pages are, indeed, statements of the obvious: “Cynicism is the death of creativity.” “Storytelling is the most powerful form of communication ever invented.”

I know what you’re thinking. GEICO, right? Guy 1: “Hmm, 15 minutes could save you 15 percent on your car insurance.” Guy 2: “Everybody knows that.” So, yes, if you’ve been in advertising for longer than a few weeks, then perhaps this book will provoke some serious and prolonged eye rolling. But I see something of merit in Hegarty on Creativity that seems to have eluded the book’s other critics. Whereas I might take things like “Read shit and you’ll think shit and you’ll create shit” or “When the world zigs, zag” with a grain of duh, these aren’t platitudes. They’re little mantras for the inspiration-starved. Believe me, when you’re long on ambition and short on experience, it’s safe to say that any inspiration, no matter how seemingly platitudinous, is gobbled up faster than a rib roast at a dog park.

In a nutshell, if your name has a way of popping up on the pages of CA every so often, then perhaps Hegarty on Creativity isn’t for you. But if you’re one of the legions of ad school students looking for some career-igniting sparks from one of advertising’s most brilliant and accomplished minds, this little handbook of creative wisdom might be for you. —Ernie Schenck

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A More Beautiful Question

The Power of Inquiry to Spark Breakthrough Ideas

By Warren Berger

Four-year-olds ask lots of great questions— about 300 per day, in fact. “Why is the sky blue?,” “Why is that man homeless?” and “Where did I come from?” are classics. Growing up, we’re conditioned to value answering over asking, but the most creative, successful people remain expert questioners. They’ve mastered the art of inquiry—raising questions no one else is asking and finding the answers everyone else is seeking. In this book, journalist, innovation expert and frequent CA contributor Warren Berger takes us inside red-hot businesses like Netflix, IDEO and Airbnb to show how questioning is baked into their organizational DNA. He also shares dozens of inspiring stories of artists, teachers, entrepreneurs, basement tinkerers and social activists who changed their lives and the world around them by starting with a “beautiful question.” 272 pages, hardcover, $26, Bloomsbury USA.

Digital Doesn’t Matter

(And other advertising heresies)

By Josh Sklar

“Apathetic. Numb.

Overwhelmed.” Author Josh Sklar isn’t talking about consumers. He’s describing ad professionals, and he has talked to plenty. More than 130 of today’s most esteemed creatives contributed to this compendium of brutally honest, provocative insights that are, at times, pure heresy. Digital Doesn’t Matter explores how the radical shift in advertising to a big-data numbers game—ruled by instant response and measured in fractions of a percent—is sucking craft, quality and satisfaction out of the business. When the brief says “make the video viral,” these contributors offer practical ways forward. 562 pages, softcover, $24.95, Heresy Press.

100 Ways to Create a Great Ad

By Tim Collins 208 pages, softcover, $35 Published by Laurence King Publishing laurenceking.com/us

If you’re an aspiring copywriter or art director building a portfolio or an established creative looking for inspiration, then this book will work well as a quick idea generator.

Many of the techniques are familiar, like product comparison, exaggeration and demonstration—even the dreaded ones, like using employees, testimonials and puns. But never have I seen them so conveniently labeled, and, honestly, I never knew there were so many.

The only limitation is that the book doesn’t include direct mail and online advertising techniques specifically, but then, a great idea is a great idea wherever it appears. And this book is full of them, with hundreds of ads for everything from Apple to Zippo.

Flipping through awards annuals—like the one you’re holding—is a great way to seek inspiration. With this book, though, you’ll get a broader selection and, more important, an explanation of how and why the ads work so well.

—Peter Wise

Here you don’t just have puns, you have separate sections for visual puns and double meanings. Not just testimonials, but reverse testimonials and manufacturers’ testimonials. There’s even “Playing with the Logo” (good luck with that one) and all kinds of visual cleverness, from typography and diagrams to illusion. Even techniques you may never have thought of, such as “Contrasting Pairs,” “Hidden Camera” and “Annotation,” are nicely illustrated with several examples for each.

Hidden Persuasion 33 Psychological Influence Techniques in Advertising

By Marc Andrews, Dr. Matthijs van Leeuwen and Dr. Rick van Baaren 192 pages, hardcover, $45 Published by BIS Publishers bispublishers.nl

For as long as I can remember, people have been speculating on the dark underbelly of advertising, that seedy psychological backstreet where all manner of creative deviants conspire to bend our minds with their seemingly innocent ads and commercials.

we do lean on fear. Humor is a no-brainer. Emotion, no question about it. But hidden? Hardly. Still, for anyone seeking to understand how advertising works on a psychological and emotional level, the book can be informative and entertaining—to a point.

Like so many books of its kind, Hidden Persuasion attempts to measure and quantify a skill set that is nowhere near as mysterious or insidious as its skeptics and detractors would have us believe.

And although the intention of the authors might come from a purely intellectual need to understand how and why advertising works, their suggestion that its inner workings are shrouded in secrecy only pours fresh gasoline onto a fire that’s been burning for years.

—E.S. ACKNOWLEDGING Acknowledging Resistance

01

RESISTANCE

Overcoming resistance by simply acknowledging it

Resistance to influence and persuasion is the single most problematic aspect of ge�ing someone to do or purchase something. It is, therefore, no wonder that most persuaders and requesters do everything they can to avoid emphasising or calling a�ention to possible negative responses to their request. Paradoxically, research has shown that acknowledging someone’s resistance to comply or emphasising that they are free to do as

And although I fully recognize the place of advertising psychology and its ability to create desire, if such a backstreet exists, I’ve never been there, nor do I know anyone who has. Hidden Persuasion, by its very title, would have us believe that there does indeed exist a premeditated effort to control our minds, techniques creepy and powerful enough to put the CIA to shame.

Not that there isn’t useful information here.

There is. To be honest, as advertising creatives,

they want removes hesitation, increases liking of the requester, and induces compliance. The most remarkable thing about these two techniques is that they require no additional methods of persuasion to be used, and Acknowledging Resistance no extra information needs to be processed. It is as simple as saying, “I know you will not agree to this, but...” before a proposal or adding, “But you are free to accept or refuse” a�er the proposal. While both techniques play into our tendency to resist influence, there are differences between these approaches.

Acknowledging resistance (AR) necessitates that there be resistance to the upcoming proposal in advance, as would be expected when raising taxes or fees on a service. It plays into this existing resistance by simply acknowledging its presence. It not only eliminates the possibility of the target using the argument, “But I don’t want to,” but also communicates an empathic understanding of that person’s opinion. Importantly, the acknowledgement must be at the beginning of the sentence or proposal.

In a few cases, the technique can be used as an a�empt at reverse

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Hans Brinker acknowledges that budget is budget by embracing “cheap” instead of trying to camouflage it. No luxury (images above), only the basics (next page) and no extensive service (page 22). In these series of ads, acknowledging resistance is combined with an element of humour and surprise. The take-home message “…but we are very affordable” is not explicitly stated, but left to be discovered by the viewer once he/she has understood the ad.

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SPOTLIGHT: DESIGN TOYS Tale of the tape Color me excited The new Pantone Essentials kit bundles solid, solid-to-process and process-only color specification kits in a convenient carrying case.

They’ve been busy at Pantone, adding 84 new colors this year alone and 644 new ones since 2010. The bundle includes formula guides for selecting, specifying and matching solid Pantone colors, Color Bridge for converting solid Pantone colors to CMYK, RGB or HTML/hex colors for web design, and CMYK guides (coated and uncoated) with 2,868 process colors chromatically arranged to make it easier to spec colors for four-color process printing.

Seeing is believing at pantone.com.

The real macaw Intuitive website design without coding has been a fever dream of designers for as long as… well, as long as there has been web design. Now that dream might become a reality, thanks to Macaw, a real-time, design-to-code program that converts visual design to HTML and CSS. Features include the ability to create responsive designs optimized for all devices, pull in web fonts, build dynamic layouts and send designs to any device on the same network for remote previews.

Like what you see?

Simply click “Publish.”

Download a free trial at macaw.co.

Code for clarity Input is a typeface coders will love. Designed specifically to be used by computer programmers and web developers who have long relied on monospaced, fixed-width fonts, Input is built for today’s sophisticated coding environments. Combining syntax highlighting, proportionally spaced text and multiple font styles, Input aims to make code easier to write and read.

And for designers who need to emulate the look of a Fortran command line, Input is ideal. Input is available for download at input.fontbureau.com/download.

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All these years, masking tape has been just plain old masking tape. Sticky, but boring.

Vanilla—well, maybe manila. Until now.

Enter House Industries. These guys, who must have their fingers on the pulse of the cultural zeitgeist, have figured out what masking tape was missing. Capital letters!

Carnival style! From A to Z. Start taping typography everywhere at houseind .com/objects/objects/ carnivalalphabet maskingtape.

Let the arguments begin!

Love to nerd out about all things design? DESIGNerd is the perfect app for trivia-loving designers.

Topics include typography, publishing, advertising, branding, contemporary design studios and packaging, with contributions from such design luminaries as Kevin Finn, Stefan Sagmeister, Lita Talarico and Steven Heller.

A limited edition set of cards housed in a protective tin is also available. Geek out at designerd.info.

Lorem ipsum does good Gibberish has never been this impactful.

Hyperakt created Social Good Ipsum, a lorem ipsum generator that enables designers to fill their comps with buzz phrases from the world of activism. For example, “Amplify combat poverty Millennium Development Goals.…” If you want to change the world, first change your dummy copy at socialgoodipsum.com.

—Sam McMillan

CALENDAR Striking sparks In a match made in illustration heaven, the makers of Procreate, a drawing app for the iPad, have teamed up with FiftyThree, the studio that makes the Pencil stylus. The result is called Procreate 2.1 ‘Fire.’ And it delivers a richer experience for Procreate users who want to get the most from the natural fluidity of Pencil’s tool-switching combined with Procreate’s intuitive brush, smudge and eraser system.

Check it out at the App Store or at procreate.si.

Animation station MotionComposer from Aquafadas creates rich animations and exports them as HTML5 or Flash to desktop browsers, tablets, smartphones and e-readers. Build separate slides (as in PowerPoint or Keynote), add them to a timeline, include sound effects, built-in transitions and interactions. MotionComposer automatically builds the animation, eliminating the time-consuming process of animating content frame by frame. For more information, visit aquafadas.com/en/motioncomposer.

Take note If you are writing for the ages, you could do worse than jotting down your thoughts on Strathmore Notes, journals made using a 100-year-old recipe with a colorful twist: an embroidered spine and matching embossed thistle. Your sketches should stand the test of time on one of three finishes: Strathmore Pure Cotton Paper featuring 100 percent cotton-fiber, Strathmore Watermark Laid Paper on 25 percent cottonfiber or Strathmore Premium Smooth Paper. The journals are available in three sizes from three-and-a-half by fiveand-a-half inches to sevenand-a-half by ten inches. For more information, visit mohawkconnects.com/ marketing-page/strathmore -notes. —S.M.

november 9–11 ana Multicultural Marketing & Diversity Conference Association of National Advertisers Fontainebleau Miami Beach Miami Beach, Florida ana.net/conference 17–19 An Event Apart Web Design Conference Palace Hotel San Francisco, California aneventapart.com January 2–12, 2015 Palm Springs International Film Festival Palm Springs, California psfilmfest.org 7–31 57th Annual Exhibition Society of Illustrators Uncommissioned, Institutional and Advertising Gala: Friday, January 9 New York, New York societyillustrators.org 20–24 FOTOfusion Palm Beach Photographic Centre West Palm Beach, Florida fotofusion.org february 4–28 57th Annual Exhibition Society of Illustrators Editorial and Book Gala: Friday, February 6 New York, New York societyillustrators.org 6–8 SCBWI 16th Winter Conference Society of Children’s Book Writers and Illustrators Grand Hyatt New York, New York scbwi.org March 13–17 South by Southwest (SXSW) Interactive Festival Austin, Texas sxsw.com

Copy must be received three months prior to the publication date. Please include a contact name, phone number and address.

INDEX TO ADVERTISING ANNUAL 55

a

Aardvark Music 195 Abate, Suzanne 134 Abbott, Meredith 126 Acampora, David 167 Acord, Lance 179, 188, 196 Adam & Dave 192 Adam, Aliza 130 Adams, Casey 145 a52 179, 192 Afridi, Saks 161 Aimette, Michael 180 Akerstedt, Magnus 199 Akhtar, Jamil 161 Al-Kadiri, Zu 183 Alexander, Joe 117, 168, 179, 183, 184 Alger, Wade 179, 183 All Awards 118 Allaf, Christine Djamila 85 Allais, Martin 117, 184 Allen, Catherine 176 Allen, Craig 126, 172, 199 Allibhoy, Aamir 161 Allstate 85 Almeida, Greg 114, 120 Almuna, Tomas 96 Aloor Forestry Association (AFA) 163 Alter Ego 145, 171, 172, 184 Altman, Teri 148 Amelchenko, Paul 147 American Honda Motor Co., Inc. 154 Anastasi, Michael 195 Andersen, Cohan 130 Anderson, Steve 199 Anderson, Susan 114 Andreani, Daniel 117 Anggono, Rudi 130 Anonymous Content 153 Ansley, James 170 Antonello, Matt 94 APM Music 151 Apse, Rob 145 Araya, Sergio 96 Arbez, Joel 94 Arc Worldwide 148 Arcade Edit 153, 183 Arena, Gianfranco 120, 176 Ariola, Dante 180 Armour, Justine 199 Armstrong, Adrian 104 Arnold Worldwide 114, 120, 132 Arts & Sciences 192 Aslam, Kamran 130 @radical.media 148, 183, 191 Attia, Gabrielle 188 Awan, Saima 195 Ayson, Steve 199

b

Babbitt, Flo 175 Babcock, Brock 195, 199 Baber, Karen 168 Babinet, Remi 188 Bagley, Jason 172, 199 Baiker, Ralph 110 Bakarich, Mary 148 Balbach, Ruth 132 Balzano, Christian 147 Bangerter, Mark 141 Bangkaew, Chayada 98 Bank of America 153 Baratelli, Joe 154 Barbier, Patrick 188 Bardowell, Jamil 183 Barger, Adam 187 Barking Owl 180, 195, 199 Barnes, Matt 158 Baron, Jeff 199 Bartley, Neil 171 Barton, Stace 167 Bassett, Steve 179, 183

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Bate, Andy 179 Bath, Vic 138 Battarbee, Kristi 126 Bayer CropScience 143 Bayett, Kelly 195 BBDO New York 120, 145, 176, 180, 187, 196 BBDO Pakistan 161 BBDO Toronto 158 BBH New York 134, 191 BCAA Insurance 83 Beacon Street Studios 126 Beast 126, 176, 188 Beaulieu, Dominik 107 Beckett, Christian 170, 191 Behram, Noor 161 Belenguer, Antonia 118 Belic, Adrian 126 Bell, Alex 164 Bell, Chris 184 Bellon, Damien 188 Bellotti, Ruth 199 Bellumio, Ariel 147 Benedetto, Evan 134 Bennett, Debbie 164 Bennett, Heath 101 Bennett, Mitch 101 Benoit, Jac 169 Benson, Barbara 183 Berard, Nicole 145 Berenson, Dan 170, 191 Beresford-Hill, Chris 145, 196 Bernard, Vincent 88, 103, 107 Bernardin, Jim 85 Berner, Andreas 171 Bertany, Amanda 101 Bertona, Michele 188 BETC 188 Beyond the Beat 125 Bhangu, Kerry 83 Bhatt, Dhaval 172 Bi, Kevin 88, 113 Big Brothers of Greater Vancouver 164 Big Sky Edit 151 Bijou 134 Bilinsky, Liz 151 Biscuit Filmworks 176, 180, 196 Black Iris 184 Blackburn, Lisa 91 Blackmore, Mike 184 Blaney, Collin 183 Blejec, Sasha 130 Blix, Noel 143 Block, Sarah 85 Bloomfield, William 196 Bodett, Tom 168, 170 Bodis, Andrew 134 Boer, Danilo 120 Bogoch, Jake 114 Boisseau, Clement 188 Boivin, David 103, 107 Bonacorso, Marty 191 Bonine, Alan 94 BoomBox Sound 134 Booth-Clibborn, Justin 134, 191 Bosnic, Duda 153 Boucher, Eve 107 Bourret, Ryan 172 Boutebel, Sébastien 85 Boyd, Eric 126 Braun, Greg 183 Brave New Films 161 Brazilian Association of Organ Transplantation (ABTO) 147 Brebner, Patty 179, 180 Brecken, Nick 145 Breen, Chris 122 breensmith 122 Brens, Jerry 125 Brewer, Scott 175 Brewster, Maya 148 Briggs, Tom 145 Brockhoff, Libby 138

Brown, Kyle 126 Brown, Robin 191 Brown, Ryley 199 Bryant, Dan 183 Bucciarelli, Anna 87 Buckhorn, Dean 192 Burberry 137 Burchiel, Kim 163 Burg, Dave 179 Leo Burnett Chicago 85, 114, 148, 195 Leo Burnett Frankfurt 158 Leo Burnett Hong Kong 88, 96 Leo Burnett Tailor Made 87, 141, 147 Leo Burnett Toronto 103, 163 Burns, Anthony Scott 167 Burns, Sean 113 Butcher Editorial 154 Butler, Shine, Stern & Partners 91 Butsabakorn, Chatchai 98 Butzer, Scott 192 BWN 130, 175, 188, 196

c

Cabian, Roberto 118 Caguin, Mike 126 Calabrese, Joe 130 Calabro, Rob 126 Calleja, Jorge 117, 184 Callif, Dustin 129, 134 Campbell, Amy 167 Campbell, Cosmo 164 Campbell, Stuart 176 Canadian Institute of Diversity and Inclusion 167 Canadian Journalists for Free Expression 161 Cancelliere, Jim 187 Canning, Dave 151 Caputo, Gerard 191 Carch, Kiri 170 Caringal, Marc 169 Carioca Studio 104 Carl, Christian 170, 191 Carlesimo, Gregg 148, 183 Carlson, Susie 175 Carmichael Lynch 130, 175, 188, 192, 196 Carmody, Brian 183 Carroll, Gigi 122 Carroll, Ryan 175 Carstensen, Kira 126 Carte, Linda 158 Carter, Adam 179 Carthy, Leslie 153 Cartwright, Sheri 168, 170 Cassidy, Josh 183 Catmur, Ian 153 Cavagnac, Romain 188 Caviar 130 Cesar, Jonathon 98 Chan, Henry 88 Chan, Hwee Chong 113 Chan, May 88 Chao, Rus 195 Chee, Audrey 96 Chelvanathan, Anthony 163 Chemetoff, André 172 Cheng, Eric 147 Cherry, Shannon 164 Cheung, Stephen 88 Chiechi, Joe 179 Chin, Debbie 192 Chirhart, Steve 132 Choi, Brent 141 Choo, Steve 187 Choque, Antoine 188 Chow, Wilson 147 Christensen, Kim 179 Christmann, Juan 118 Christou, Andrew 192

Chrysler Group LLC, Fiat 147 Churchill, Rob 183 Ciabattoni, Warren 85 Circus 191 Clair, SueEllen 153 Clark, Erin 179 Clarke, Peter 164 Clemenger BBDO 129 Cleveland, Bart 117 Clifton, Josh 184 Club Production 110 Coates, Alyssa 180 Coca-Cola 147 Cochrane, Sean 184 Cocuzza, Charlie 187 Cody, Kyle 171 Coffman, Bain 101 Cohen, Fern 199 Cohen, Paula 183 Cohen, Rick 170, 191 Coleman, Sean 130, 175, 188, 196 Colgate 110 Collier, Matt 168 Collins, Bryan 107 Collins, Whitney 187 Colonial Williamsburg 168 Comando S 141 Community Films 176, 188 Company 3 130, 134, 175, 188, 196 Conlin, Simon 134 Connella, Nate 195 Constellation Brands 118 Contrapunto BBDO 118 Corr, David 83 Corredor, Hugo 92 Cosper, Eric 180 Cottrell, Noel 101 Coulter, Jessica 145 Couture, Marc 103 Coyle, Laura 175 CP+B 187 Cramer-Krasselt 118 Cranshaw, Sophia 167 Creative Juice Bangkok 98 Credle, Susan 85, 114, 148, 195 Crichton, David 114 Crippa, Stella 87 Cross, Kim 129, 137 Crush Inc. 172 Cruz, Thiago 113 Curtis, Kyle 164 Cutler, Gavin 129, 137, 172 Cyganiewicz, Justin 153 Cylinder Sound 176

d

Dagli, Sinan 91 Dalton, Stephen 187 Damelin, Adam 170, 171, 184, 195 Damman, Dave 130, 175, 188, 192, 196 Daniels, Calvin 171 Darbyshire, Tom 187 Darius, Catherine 103 Darrasse, Matthieu 130 Dates, Jeff 171 Davcevski, Mario 157 David, Jennifer 130, 192 Davies, Tim 199 Davis, Arielle 199 Davis, Collin 192 Davis, Hubert 157 Davis, James 195 DDB Canada 164 DDB Chicago 168, 183 DDB New York 148 de Board, Derek 183 De Candido, Mike 141 de Castro Silva, Rodrigo 148 De la Guardia, Gloria 110 De Turris, Jason 187 Deadrick, Spencer 153 DeBlaey, Zach 126

Del Carpio, Alonso 118 Del Valle, Felix 118 Delhomme, Benoit 180 Dell 199 Denain, Jacques 101 DentsuBos 138 Der, Katie 168 Deutsch NY 130 The Development Factory, Toronto 134 Devers, Wade 114, 120, 132 DeVito, Sal 91 DeVito/Verdi 91 Di Domenico, Sarah 157 Diageo 122, 187, 196 Diaz, Israel 87, 104, 108, 169 Diaz, Mike 147 Dierauer, Jessica 199 DiGeorge, Arnie 164 DiNoto, Greg 130 District 7 Media 118 Donald, Carr 176, 188 Donalisio, Juan 118 Donovan, Dan 187 Dorietto, Gustavo 113 Doris, John 176, 188 Doucette, Emile 145 Drew, Tom 125 Drive Thru 175 Drummond, Terry 161 Du Sault, Luc 88, 103, 107 Dubrick, Mike 167 Duggan, Simon 196 Duluth Trading Company 126 Dumenil, Nicolas 101 Durrani, Faisal 161 Durrett, Christian 107 Dwyer, Hoyt 83

e

Eastman, David 170 Eastwood, Matt 148 The Ebeling Group 126 Ebeling, Mick 126 Ebert, Justin 176, 188 Echo Boys 175 Ecker, Mikey 172 Edit Bar 132 Edwards, Asher 195 Edwards, Seb 188 Egan, Matt 151 Egan, Randy 164 Eger, Tim 175 Eggplant Collective 170, 171, 184, 195 Ehrenworth, Daniel 125 18% Grey 161 Einaudi, Ludovico 179 Eleven 179 Eley, Ben 117 Elledge, Megan 151 Elliott, Jim 199 Elsaadi, Nabil 103, 138 Embry, James 183 English Major 184 eNoise 147 Erdem, Erhan 167 Esse, Corey 129 Eubanks, Melissa 168, 170 Evans, Bryan 154 Evans, Danielle 132 Evans, Dave 170, 191 Evelyn, Tom 157 Evil Spirits Vodka 91 Evoy, Cooper 195 Exit Films 129 Exito Supermarkets 92 Exponent, PR division of Colle+McVoy 126 Extreme Music 180 Eyre, Rodger 171 Ezeta, Juan Pablo 118

f

Factor, Matt 175 Farfán, Renato 118 Faris, Kristy 179 Farkas, Brian 154 Farrell, Cameron 130 Fatman Films 147 Faulkner, Tom 168, 170 FCB Chicago 113, 122 FCB Mayo 118 Feakins, Rob 83 FedEx 176 Feliciano, Vince 183 Ferguson, Adam 195 Ferguson, Glenn 168, 170 Fernandez, Carlos 170, 191 Fernandez Iriso, Gorka 118 Festival de magie de Québec 107 Fetterman, Jason 125 Fiat 87, 141 Filgiano, Laurie 163 Filmworkers 183 Final Cut 192, 195 Fink, Graham 147 Fitzgerald+CO 101 567vfx 172 Fix, Paul 170, 191 Flanigin, Klaudia 175 Flanik, Barry 91 Flannery, Jon 113 Fleischer, Ruben 130 Fletcher, Janet 179 Fluitt, Cindy 195 Flynn, Jonah 171 Fontana, Christian 147 Foot Locker 145 Ford Canada 104, 169 Foster, Mike 164 Foundation for Fundamental Rights 161 Framestore 172 Francolini, Mark 169 Franklin, Chris 151 Fraracci, Matt 87, 169 Freccia, Timoteo 126 Fredette, David 191 Fredrickson, Stacey 147 Fromholtz, Whitney 195, 199 Fuchs, Brett 170, 191 Fung, Jessie 96 Furesz, Tina 167 Furlined 151 Fuselier, Oliver 129, 134

g

Gabel, Logan 163 Gadsden, Steve 167 Gallagher, Ryan 175 Gallée, Alban 130 Game, Annie 161 Gammy, Jay 170 García, Rafael 118 Gardiner, Daryl 164 Gardiner, David 153 Garfinkel, Lee 170, 191 Garmin 113 Garralda Azpíro, Joaquín 118 Garrigosa Studio 96 Gartner Films 195 Gartside, Brian 148 Gault, Chris 126 Gauthier, Matt 170 Gecko Imaging 125 Gee, Jennifer 151 GEICO 179, 183 General Electric 180 General Mills 176, 188 Gersten, Michael 180 Gersten, Teddy 154 Gethin, Mark 154, 192 GGRP 164 Ghetti, Dalton M. 88 Ghobrial, Monika 129, 167 Giannetta, Paul 103 Giffen, Dale 145 Gilcrest, Rob 153 Gilderdale, Isil 164 Giordano, Matt 167 Giroux, Denis 148 Given, Joel 94 GlaxoSmithKline 170 Glen, David 172

Glenz, Rebecca 132 GNC 192 Godsil, Max 183 Goel, Akash 161 Goggin, Hayley 172 Goldstein, Eric 180 Gomez, Jorge 147 Gomez, Juan 92 Gomez, Mario 147 Gomez, Samuel 118 Gonsar, Brian 153 Goodby, Jeff 195 Goodby Silverstein & Partners 195 Goodman, Nicole 126 Google 137 Google Creative Partnerships 137 Goudie, Tom 169 Gourley, Trevor 129 Barton F. Graf 9000 151 Graf, Gerry 151 Graham, Andrew 184 Grais, Ian 83, 98, 129, 167 Grant-Smith, Adrian 101 Greeley, Sarah 187 Green, David 188 Green, Derek 118 Greenberg, Lisa 163 Greenblat, Ross 148 Greene, Jeremy 130 Gregg, Andrew 147 Grein, Melissa 118 Grey Beijing 113 Grey Canada 163, 170 Grey Group China 88 Grice, Jeremy 101, 167 Griffin, Cynthia 141 Grip Limited 114 Groba, Celso 141, 147 Groenweghe, Marisa 183 Grosman, Ryan 138 Gross, Alan 113 Gross, Avery 114 Gross, Mark 168, 183 Grow 137 Grundhoefer, Joe 130, 175, 188, 192, 196 Grylewicz, Ben 172, 179, 180, 199 GSD&M 175 Guerreiro, Silvina 83 Guild, Jaime 132 Guimaraes, Bruno 113 Guité, Aric 108 Gurnari, Justin 134

h

Hack, Jefferson 153 Hahn, Greg 120, 176, 180, 187, 196 Haislip, Ryan 122 Halbert, Doug 187 Haley, Kristin 122 Hall, Mark 199 Hallmark 195 Hamilton, Austin 130 Hamilton, Jason 179 Hamilton, Lisa 134 Hamling, Tom 175 Handy, Nathan 170, 171 Hankins, Miles 188 Hansa, John 148 Hanson, Lee 126 Harding-Jackson, Kate 195 Harris, Justin 183 Harrison, Brad 196 Harrison, Jeff 107 Harry’s 101 Hausmann, Brynn 188, 196 Havas Worldwide 170, 191 Hayes, Nicholas 187 HBO 129, 137 He, Gan 147 Head, Carey 151 Heaps, Barry 132 Heard City 187 Heflin, Laura 175 Heidebrecht, Brian 132 Heineken, Dos Equis 170, 191 Helm, Alec 148 Helms, Caroline 184 Henderson, Griff 184 Heng, Yee Sin 88

Henley, Youree 192 Henriques, Marcelo 87 Hepler, Caleb 183 Herezie 85, 101 Hershfield, Bobby 129, 137 Hickman, Abbey 199 Hicks, Jennifer 91 Hierta, Magnus 117, 184 Higgins, Kate 187 Hilber, Matthew 180 Hill Holliday 153 Hirsch, Chris 145 Hirschfeld, Sasha 172 Historica Canada 129 Ho, Andrew 87, 92 Ho, Derrick 180 Hock, Matt 191 Hoedl, Frank 163 Hoffman, Dave 168 Hoffman, Susan 172, 179, 180, 199 Holtby, Joel 129, 167 Honda 83 Honda Canada 114 Hopenwasser, Chad 187 Hopman, Ross 187 Hoppe, Jennifer 163 Hord, Jim 191 Hornet 176 Horowitz, Nina 148 Hotels.com 187 Hou, Xiao 113 Householder, Callie 101 Houtman, John 195 Howard, Scott 172, 191 Howard’s Auto Body 101 Hsiao, Whiwei 147 Hu, Yongqiang 147 Hubbard, Matt 161 Hudson, Ben 167 Hughes, Brian Lee 175 Hughes, Randy 130, 175, 188, 196 Hughes, Will 147 Human 191 Humble, Steve 184 Humphreys, Brenna 154 Hungry Man 179 Hunter, Jonathon 164 Hunter, Jono 145 Hurley, Tony 91 Hurst, Ben 132 Husband, Eric 126 HutchCo 199 Hutchins, Jane 199 Hutchins, Jim 199 Hyland, Doug 94 Hyundai Motor America 183

i

Ibañez, Hernan 110 Ignazi, Peter 158 Impact BBDO Dubai 96, 104, 110

Imperial Woodpecker 187 Imprint Music 157 Infantree Pte Ltd. 87, 92 Ingram, Johnnie 176 INNOCEAN USA 183 Innocence in Danger 85 Intel 126 Interpub 163 Ip, Kenny 96

j

Jackson, Diane 168, 183 Jacobs, Letitia 199 Jaguar Canada 87 Jahara, Guilherme 87, 141, 147 Jatene, Rodrigo 141, 147 Jaworski, Jan 134 Jelniker, Craig 199 Jenkins, Brandan 85 Jensen, Lance 153 Jess, Stephen 188, 196 Jiménez, Pablo 148 Jimenez, Rafael 147 Johann, Heather 192 John, Judy 103, 163 john st. 145, 172 Johnson, Derek 175 Johnson, Pete 114, 120, 132 Johnstone, Liam 157 Joint Editorial 179, 180 Jones, Alicia 154 Jones, Kevin 179 Jonsgarden, Tomas 199 Jorge, Carlos 118 Joseph, Kevin 87, 92 JR 161 JSM Music 187 Jucarone, Tom 191 Juniper Park 161 Jurisic, Stephen 145, 172 Jutras, Paul 157 JWT Canada 141

k

Kachikis, Kris 151 Kaemmerer, Hans-Juergen 158 Kahn, Joshua 132 Kain, Peter 120, 176 Kallman, Eric 151 Karns, Susan 179 Katalinic, Tony 148 Kavluk, Lexy 157, 195 Kearse, John 114, 120 Keenan, Kerry 130 Keith, Scot 107 Keller, Fred 183 Kennedy, Gannon 168, 170 Kennedy, Kris 118 Kennedy, Rachel 134 Kenyon, Jeff 180 Keramidas, Tom 195

Khadem, Ahmed El 110 Khalid, Assam 161 Khan, Imran Arif 161 Khater, Fares Abou 96 Khor, Katherine 87, 92 Killingsworth, Mark 171 Kim, Nellie 145 Kirby, Brock 180 Kirijian, Jano 158 Kirk, Diane 169 Kirmis, Jenny 126 Klein, Jonathan 195 Kline, Regan 85 Klinkert, Nick 195 Kluin, Menno 148 Kmart 113 Knowlden, Brandon 118 Andrew Knox Music 187 Kobo Inc. 172 Koeller, Kristen 134 Koller, Kevin 195 Korte, Eric 176, 188 Kousidonis, Caroline 179 Kouvara, Maira 163 Kovan, Aaron 187 Kovan, Gus 192 Kowalczyk, Kamil 148 Kraemer, Tom 196 Krafczyk, Mike 91 Kraft Canada 176, 184 Krallman, Randy 183 Kreher, Jason 172 Krienert, Tierney 132 Krispy Kernels 88 Ku, Morris 147 Kumar, Rainy 130 Kundukulam, Saji Johnny 163 Kuntz, Tom 172 Kutny, Steve 151 Kuttan, Matt 148 Kuzmich, Vikki 163 Kwan, Andrew 147 Kwee, Norma 134 Kyriakou, Steve 87, 92

l

La Noyée, Jack 147 La Sonora 118 La Souris sur le Gâteau 101 Labre, Dre 129, 167 LaChapelle, John 132 Lacoste 188 Lacuesta, Dawn 141 Lafleur, Sandie 88, 107 Lafrenière, Jean 107 Laliberte Else, Marc 129, 137, 164 Lam, Adrian 88 Lamb, Kyle 145, 172 Lamb, Tom 167 Land Rover Canada 108 Langone, Mike 153 Lanpher, Lindsey 129, 137

Statement of Ownership, Management and Circulation 1. Publication Title: Communication Arts. 2. Publication No.: 0082-120. 3. Filing Date: 9/23/14. 4. Issue Frequency: Bi-Monthly. 5. No. of Issues Published Annually: 6. 6. Annual Subscription Price: $53. 7. Complete Mailing Address of Known Office of Publication: 110 Constitution Drive, Menlo Park, CA 94025 (San Mateo County) 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: Same. 9. Full Names and Complete Addresses of Publisher, Editor and Executive Editor: Publisher: Patrick S. Coyne, 110 Constitution Drive, Menlo Park, CA 94025. Editor: Patrick S. Coyne, 110 Constitution Drive, Menlo Park, CA 94025.

Executive Editor: Jean A. Coyne, 110 Constitution Drive, Menlo Park, CA 94025. 10. Owner: Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025. The names and addresses of stockholders owning or holding 1 percent or more of total amount of stock: Patrick S. Coyne, 110 Constitution Drive, Menlo Park, CA 94025; Eric P. Coyne, 110 Constitution Drive, Menlo Park, CA 94025; Martha R. Coyne, 110 Constitution Drive, Menlo Park, CA 94025. 11. Known Bondholders, Mortgagees and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None. 12. Not Applicable. 13. Publication Title: Communication Arts. 14. Issue Date for Circulation Data Below: September/October 2014. 15. Extent and Nature of Circulation (Average No. Copies Each Issue During Preceding 12 Months/Actual No. Copies of Single Issue Published Nearest to Filing Date): a. Total No. Copies (Net Press Run): 42,068/37,782. b. Paid and/or Requested Circulation: (1) Paid/Requested Outside-County Mail Subscriptions Stated on PS Form 3541 (Include advertiser’s proof and exchange copies): 28,582/26,735. (2) Paid In-County Subscriptions Stated on PS Form 3541 (Include advertiser’s proof and exchange copies): 0. (3) Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Non-USPS Paid Distribution: 6,057/5,875. (4) Other Classes Mailed Through the USPS: 0. c. Total Paid and/or Requested Circulation [Sum of 15b, (1), (2), (3) and (4)]: 34,639/32,610. d. Free or Nominal Rate Distribution by Mail and Outside the Mail: (1) Free or Nominal Rate Outside-County Copies Included on PS Form 3541: 339/361. (2) Free or Nominal Rate In-County Included on PS Form 3541: 0. (3) Free or Nominal Rate Copies Mailed at Other Classes Through the USPS (e.g. First-Class Mail): 16/21. (4) Free or Nominal Rate Distribution Outside the Mail (Carriers or other means): 673/125. e. Total Free or Nominal Rate Distribution (Sum of 15d (1), (2), (3) and (4)): 1,028/507. f. Total Distribution (Sum of 15c and 15e): 35,667/33,117. g. Copies Not Distributed: 6,401/4,665. h. Total (Sum of 15f and g): 42,068/37,782. Percent Paid (15c ÷ by 15f × 100): 97%/98%. 16. Electronic Copy Circulation: a. Paid Electronic Copies: 1,835/2,409. b. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a): 36,474/35,019. c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a): 37,502/35,526. d. Percent Paid (Both Print & Electronic Copies) (16b ÷ by 16c × 100): 97%/99%. I certify that all information furnished on this form is true and complete. I certify that 50% of all my distributed copies (electronic and print) are paid above a nominal price. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including multiple damages and civil penalties).

Patrick S. Coyne, Publisher/Editor

Communication Arts | commarts.com

211

INDEX TO ADVERTISING ANNUAL 55 Larouche, Christine 103 Latt, Brian 134 Lau, Fanny 88 Laucella, Ralph 129, 137, 195 Lawley, Rick 180, 196 Lawson, Todd 170 Le, Tram 172 Leavitt, Matt 92 Lecaros, Claudia 172 Lee, Bryan 187 Lee, Daniel 130 Lee, Dean 164 Lee, Mike 184 Lee, Susie 171 Legacy Effects 171 Legal Sea Foods 91 Legorburu, Gaston 147 Lekecinskas, Caio 141 Lentini, Tricia 196 Les Démons 85 LeSieur, Tanya 176, 188 Leslie, Christine 167 Levy, Sam 187 Lew, Darren 199 Lexus Canada 138 lg2 88, 103, 107 Lhermitte, Capucine 85, 101 Li, Jane 88, 113 Liang, Qing 147 Libatique, Matthew 130 Licata, Ken 129, 137 Lieb, Joel 187 Likitsuwankool, Natee 108 Lim, Alex 87, 92 Lim, Evan 87, 92 Lime Studios 172, 192 Lincoln, Andrew 187 Lindquist, Cheryl 118 Lippincott, Kathy 168, 184 Liu, Xiaohang 147 Llompart, Jose 83 Lo, Connie 88, 96 Lo Nam, Mike 104 Locke, Jessica 172 Lodermeier, Janette 101, 167 Loew, Dave 148 Long, Lisa 183 Lopez, Africa 118 Lopez, Marta 118 Lowe Campbell Ewald 125 Lowell, Harry 183 Lowenstein, Carlos 183 Lu, Henry 176 Lu, Jiankai 147 Lubars, David 120, 145, 176, 180, 187, 196 Lucas, Taylor 188 Lucey, Dan 145, 196 Luchsinger, Logan 148 Luong, Jenny 125 Lyte, Bob 145

m

Ma, Brian 96 Ma, Lin 147 Ma, Nuo 88, 113 Mably, Chris 176 MacDonald, Jason 176 MacEachern, Jeff 184 MacKellar, Ian 176 Mackenzie Cutler 129, 137, 172, 179 MacKenzie, David 125 Macknight-Dearborn, Kari 125 MacLaren McCann Calgary 143 MacNeil, Nadya 171 MAD Agency 153 Madden, Dave 151 Madill, Alan 161 Madison, Erika 179 Madon, Farrokh 87, 92 Magali, Ilario 101 Magnum Photos 151 Mahan, Shane 171 Maher, Mike 176 Maidan, Frank 94

212

Advertising Annual 2014

Maiorino, Chris 191 Mak, Jacqueline 158 Malone Lo Presti, Valeria 118 Manson, Andy 138 Mapp, Steve 91 Mar Wai May, Clarisse 96, 104, 110 Maranta, Andrés 92 Marchese, Nick 188 Marchio, Eugene 167 Marcus, Ken 179 Marino, Mary Ann 179, 188, 196 Mars, Inc., Milky Way 168 Mars, Inc., Skittles 183 Mars, Inc., Snickers 104, 120 Marte, Jessica 101, 167 Martignago, Anne Marie 172 The Martin Agency 117, 168, 179, 183, 184 Martin, Lance 184 Martin, Tom 129 Martinez, Giovanni 92 Martinez, Paul 153 Masick, Tim 183 Masters, Emily 183 Masterson, James 170 Matarazzo, Sara 199 Maxham, John 168 Maxx Marketing Inc. 147 May, Max 98 Mayo, Scogin 143 McBride, Jennifer 130 McBride, Sean 132 McBurnie, Scott 118 McCauley, Tylynne 154 McCormick, Jason 175 McCoy, Stan 117 McCullough, Tom 187 McDonald’s 114, 148 McEntee, Randy 183 McGarry, Aristides 153, 188, 196 McGeheren, Rich 130 McGill, Jaime 85 McGinness, Will 126 McIntyre, Casey 195 McKay, Matt 130 McKechnie, Andrew 148 McKee Wallwork + Company 117 McLean, Geoff 175, 195 McLean, Gordon 180, 187, 196 McLellan, Leanne 176 McLellan, Todd 161 McMann, Kathy 114, 120 McManus, Jeff 168 McNeil, Mary 171 McRae, Kevin 170 McSheffrey, Kelly 153 Meadus, Mike 143 Meagher, Bob 168 Medin, Steve 188, 196 Mednick, Tom 114 Meeker, Evan 129, 137 Melgar, Samuel 110 Mellow, Jacqueline 176 Melnychuk, Jay 163 Meloth, Megan 179, 192 Mendoza, Alejandro 147 Mercedes-Benz 110 Mercedes-Benz, Smart Car 118 Merkel, Benjamin 158 Meschino, Jill 191 Messias, Rafael 147 Method 187 Mezarina, Keni 118 Miceli, Lance 168, 170 Michaels, Jd 145 Mielke, Jon 130 Milan, Benjamin 148 Mili Films 147 The Mill 171, 179, 183, 191, 199 Miller, Greg 187 Miller, Laura 167 Miller, Matt 195 Miller, Omari 114 Miller, Steve 183, 191 Millman, Adam 122 Mills, Kurt 145, 172

Mills, Mike 192 Mindshare 141 MINI USA 91 Mitton Rivas, Kersten 170, 191 MJZ 172, 180, 191, 192, 199 Moher, Patty 170 Mok, Lisa 87 Molinaro, Suzanne 130 Moms Demand Action for Gun Sense in America 163 Mondelēz International, Inc. 117, 184 Montgomery, Jake 195 Montgomery, Ryan 145 Moonlighting 172 Moore Bell, Jennifer 191 Moore, David 85 Moore, Jeremy 171 Moran, Darren 191 Moreno, Carlos 158 Mori, Jessica 91 Morrison, Kate 191 Motel 6 168, 170 MountainStar Healthcare 141 Moura, Hugo 158 Moura, Mauro 87 Movie Tavern 107 Moving Picture Company 195 Moxie Pictures 175, 183 Moylan, Ryan 130 MPC 154, 188, 192 Mroueh, Zak 125 MTV On-Air Promos 167 mtvU 167 Mugar, Brandon 151 Muhlenfeld, David 117, 184 Mullen 145 Murl, Kristi 184 Murphy, Chris 145, 172 Murphy, Matt 195 Murphy, Patrick 179, 192 Murro, Noam 196 My Active Driveway 187

n

Nagori, Qasim 161 Nascimento, Valdir 104 Nasir, Sana 161 National Basketball Association (NBA) 195 Nature’s Bounty, Inc. 88 Navarre, Patrick 172 Navarrete, Amber 130 Naylor, Nate 153 Near, Liza 145 Neddersen, Kai 145 Neely, Brad 199 Neill, Kelly 148 Nelson, Anthony 180 Nelson, Brad 176 Nelson, Jay 175 Nelson, Nick 175 Nemesis Pictures Pte. Ltd. 96 Neuwirt, Jackeline 141 New York City Ballet 148 Newbold, Dave 141 Newton, Conn 188, 196 Nguyen, Andrew 167 Nguyen, Melissa 187 Niaz, Farooq 161 Nichols, Jessica 141 Nicolucci, Guto 147 Nicosia, Michael 130 Nike 180 Nissan 130 Nissan Canada Inc. 171 Nobili, Simone 94 Noodles & Company 92 Nordfors, Andy 192 NO6 176, 187 Nova Film 107 Novak, Nat 114, 120 Novartis Canada 94 Nugent, Mike 158 Nynas, Tom 143

o

O Positive 129, 137, 195 O’Brien, Tim 94 O’Connell, Brian 187 O’Connell, Mike 125 O’Leary, Patrick 199 O’Leary, Scott 130 O’Meara, Sean 94 O’Sullivan, Caroline 179 Odlum, Wade 171 Odysseus Arms 138 Ogilvy & Mather Beijing 147 Ogilvy & Mather Toronto 176 Oke, Allen 171 Okkerse, Johnny 171 Old Spice 172, 199 Olech, Kelly 187 Oliveira, Rafa 141 Olson, Jimmy 118 Olson, Pete 130 One Twenty Three West 107 One Union Recording 126 Oneighty° 83 OPC/Family Style 145, 164 Opriasa, Dean 130 The Orange Apple 107, 143 Orlando, Michelle 134 Ortega, David 117 Ospina, Freddy 92 Othman, Otto 147 Outside Edit + Design 191 Overkamp, Jamie 191 Owett, Margot 199

p

Padilla, Veronica 145 Pagan, Juan Carlos 148 Paiva, Mark 171 Pak, Helen 94, 134 Palasek, Joe 145 Palavecino, Gonzalo 96 Pana, Alex 134 Panek, Cheryl 151 Papaleo, Nick 168 Papple, Madison 145 Parekh, Andrij 176 Parikh, Neha 187 Pariselli, Mario 104 Park, Jin 130 Park Pictures 179, 188, 196 Parkins, Chris 195 Parkins, Loren 187, 196 Pascarelli, Eric 195 Passera, Livio 167 Paterson, Ewan 183 Paticoff, Gary 154 Patroulis, John 134, 191 Patterson, Trent 168 Paulekas, Ezra 126 Pauli, Andreas 158 Pauly, Ted 151 Pavich, Jason 101 Payne, Jeff 179 Peacebuilders International 158 Peck, Anne 103 Peck, Ryan 130 Pedersen, Doug 192 Peel, Chris 184 Pellegrin, Paolo 151 Pentoney, Zach 130 Peralta, Rey 130 Perdue, Jason 83 Perennials 143 Perkins, Charley 145 Perkins, Peace 167 Persico, Steve 163 Perwez, Zeeshan 161 Peters, Allan 132 Peters, Ricardo 157 Peterschmidt, Curtis 126 Peterson, Jason 191 Pettapiece, Tom 83 Phearsome, Jessica 145 Phillips, Aaron 126 Phillips, Grace 151 Pichette, Julie 107 Piggott, Andrew 147

Pillai, Sangeet 176 Pimentel & Sons Guitarmakers 117 Pineda, Edwin 92 Pinel, Chris 101 Pirate Toronto 104, 169 Plan B Productions 118 Plan 8 134 Platinum MFD 92 PlayStation 134, 191 Poggio, Rocio 118 Poh, Soonguan 147 Polar, Humberto 118 Polsinelli, Marco 167 Ponzer, Rodes 176, 188 POP Sound 134 Porter, Brandon 196 Post Op 168, 170 PosterBoy Edit 171, 184 PostPro Media 164 Potter, David 180 Poulakakis, Tico 184 Poulin, David 107 Povill, David 199 Powell, Munn 132 Prewozniak, Adam 85 Pringle, Rodney 91 Prins, Robert 183 Procolor Imaging Pte Ltd. 88, 113 Procter & Gamble 179 Procter & Gamble, Bounce 103 Procter & Gamble, Scope 83 Progressive Insurance 132 Pruett, Matt 175 Pruger, Daniel 164 Publicis Kaplan Thaler 83 Publicis Seattle/Riney 192 Puc, Veronica 85 Puckett, Tod 195 Pullano, Lauren 180 Py, Jean-Laurent 85

q r

Quackenbush, Tim 188, 196 Quinn, Barry 161 Quiñones, Anibal 83 Quintal, Nicolas 98

R&R Partners 164 The Rabbit Hole 87, 92 Rachford, Chuck 168 RadioShack 175 Radosevic, Jim 199 Rainmaker Studios 168, 183 Raising The Roof 163 Ramakrishnan, Juggi 147 Ramirez, Suzy 195 Ramos, Kara 101 Rashidi, Omid 180 Rauch, Rachel 199 Reardon, Katie 172 Red Urban 157, 195 Reeb, Adam 199 Reese, Stephen 108 Reeves, Adam 195 Regimand, Julie 122 Reiker, Tami 188 Reis, Marcelo 87, 141, 147 Relish 145, 172 Remlinger, Darlene 170 Ren, Ben 87 Rennard, Kenny 153 Reporters Without Borders 158 Reprieve 161 Rethink 83, 98, 129, 167 Reuter 132 Revell, Angie 195 Rexach, Kenneth 83 Reyes, David 94 Rez, Ali 161 Ricci, Luke 130 Rich, Michelle 171 Richards, Freddie 175 The Richards Group 168, 170

Richardson, Krysten 180 Richter, Cornelia 158 Richter7 141 Rider, Sage 132 Riley, Sean 179 Rivest, Marc 103, 107 Rix, Crystal 120 Rizerio, Marcelo 147 Rizzo, Rob 153 Roa, Victor 134 Robertson, Travis 114, 120 Robin, Fabrice 85 Robinson, Wayne 168 Roca, Pamela 147 Roche, Leisha 184 Roddy, Kevin 192 Rodriguez, Ambar 83 Roe, Shauna 134 Rogers, Michael 188, 196 Rogers, Simon 158 Rogers, Steve 180 Rolfe, David 187, 196 Roman, Benton 195 Romanek, Mark 153 Romatz, Andrew 192 Ronay, Howie 113 Ronquillo, Mark 83 Roosen, Dieter 158 Rooster Post Production 157, 195 Rosario, Luis 180 Roses, Alejandro 147 Ross, Marshall 118 Rovinescu, Laura 163 RPA 154 Ruas, Jessica 118 Rubira, Oscar 118 Ruby, Jon 145 Rude, Allison 145 Rudelier, Dana 164 Rudh, Mattias 172 Rumblefish 172 Running With Scissors 184 Rushing, Haley 175 Russell, Jay 175 Russell, Scott 98 Russo, Davi 148 Ryan, Brit 126 Ryerson, Libby 145

s

Saatchi & Saatchi Canada 94, 134 Saatchi & Saatchi New York 176, 188 Saint Bernadine Mission Communications Inc. 91 Salamanca, Ricardo 110 Samuel, Andrew 91 Sanchez, Patricio 153 Sancho BBDO 92 Santos, Manny 91 SapientNitro 147 Sarrett, Brittany 168 Satizabal, Jimmy 147 Saunders, Ross 187 Sausmer, Matt 191 Schaaf, Molly 179, 183 Scharpf, Tom 126 Scheerer, JoJo 183 Schlyecher, Rob 101, 167 Schmidt, Eric 183, 191 Schmitt, Gabriel 113 Schmooze 188 Schneider, Scott 83 Schoenberg, Jonathan 92 Schoenfeld, Trevor 169 Schomann, Taylor 199 Schonberger, Mike 161 Schreiber, Julian 129 Schroeder, Diana 168, 170 Schuman, Mike 184 Scissons, Patrick 163, 170 Sears Optical 103 Sears, Ryan 151 Selis, Jeff 180 Sen, Aunindo 104, 110 Senn, Marty 192 7-Eleven Canada Inc. 107 740 Sound Design 126 Severin, Matt 130 SGL Studios 158 Shane, David 129, 137

Shanghoon 94 Shanholtzer, Ryan 179 Sharpe, Ben 184 Sheehy, Jamee 145 Sheer-Payne, Alex 183 Shelford, Don 180 Shembeda, Brian 114 Sheppard, Brian 94, 134 Sherman, Derek 118 Sherwood, Mark 176, 188 Shing, Miranda 88 Shing, Patrick 195 Shintani, Kirk 179 Shoesmith, Jo 195 Shumway, Trent 172 Siam Tamiya Co, Ltd. 98 Silber, Loren 172 Sime, Toby 161 Simev, Damian 157 Simon, Joel 187 Simon, Mark 125 Simpson, Ian 176 Singh, Rimi 171 Sipma, Hans 83 Sixth Sense Productions 170 Ski, Joe 138 Skinner, Emily 172 SKUNK 175 Smith, Brendan 195 Smith, Chris 168, 170 Smith, Grant 120 Smith, Jonathan 104, 169 Smith, Mike 176, 196 Smith, Peter Moore 176, 188 Smith, Stefan 172 Smuggler 183 Smukler, Matt 176, 188 Snajdr, Yan 114 Snapp, Brian 130 Sofio Hall, Jennifer 179 Soft Citizen 176 Soh, Jae 96 Soler Chopo, Maria 184 Soler, Ricky 83 Sonderup, Nick 180 Sone, Risa 169 Sons and Daughters 171, 172 Soos, Chris 171 Sora, Stephen 176 Sorrell, Matt 145 Soundtrack 132 Spelliscy, Ryan 141 Sperling, Jason 154 SplashDown Waterpark 98 Spooner, James 164 Spring Advertising 101, 167 Sprinkel, Steve 180 SS+K 129, 137 St. Clair, Will 168, 183 Staedtler 88, 96 Staliano, Paulo 147 Standley, Rick 118 Staples, Chris 83, 98, 129, 167 Staples, Joe 172, 179, 180, 199 Starcom MediaVest Group 153, 195 Starkman, Aaron 129, 167 Stavroff, Arrabelle 158 Stawiarski, Jeanne 175 Steam Films 184 Steelberg, Eric 195 Steele, Ben 114 Steele, Ryan 129, 137, 172 Steiner, Caroline 153 Steiner, Elena 118 Steiner, Steven 134 Stephenson, Aaron 148 Stephenson, Charlie 143 Stern, Eric 153 Stewart, Clive 101 Stewart, Jon 125 Stillacci, Andrea 85, 101 Stimmung 192 Stinson, Max 172 Stitch 134 Stojanovic, Boris 147 Stoller, Aaron 176 Stoller, Dani 176, 188 Stolte, Milla 132 Stuart, Jenn 184 Studio 6 191 Studio Animal 184

u

Subaru of America 130, 175, 188, 196 Sugino Studios 161 Suhail, Ovais 161 Sulliman, Tamara 141 Sume, Gary 141 Sutcliffe, Greg 96 David Sutherland Inc. 143 Swan, Carl 176, 188 Swartz, Dave 187 Swartz, John 129, 137 Sweetman, Rob 107 Syberg-Olsen, Matt 157 Syed, Insiya 161 Szalontai, Gregorio 147

t

Ulbrich, Jim 176, 188 Umar, Sohaib Zahid 161 Un Mariachi 120 Uniac, Larry 87 Union Edit 191 University of Engineering and Technology 118 Untitled Films 157, 195 Unzer, Joao 148 Urquiza, Javier 147 Urriza, Gonzalo 118 Utah Highway Safety Office 164 Uzendoski, Mick 175

T-Mobile USA 192 Taciuk, Chris 103 Talbot, Matt 187 Tally, Cris 101 Tan, Kris 87, 92 Tanapatanakul, Thirasak 98 Tang, Ra 96 Tanton, Heather 184 Tar Sands Solutions Network 167 Target Canada 132 Target Creative Studio 132 Tarry, Rob 83 Ta2 Sound + Music 167 Tax, Kathleen 183 TAXI Canada 184 Taylor, Donald 191 Taylor, Emily 179, 183 Taylor Guitars 94 TBWA Toronto 171 TBWA\G1 130 TDA_Boulder 92 Teo, Chai Guan 87, 92 Teo Studio 87, 92 Tetens, Melissa 143 Thatcher, Stephanie 107 Thayer, Kent 94 3rd Street Mining Company 132 Thomas, Alex 172 Thomas, Brian 171 Thomas, Bryan 134 Thomas, Dave 132 Thomas, Liane 171 Thomlinson, Jasper 130 Thompson, Luke 129 Thompson, Rob 180 Thorne, David 151 Thorton, Brandon 180 350 Action 151 Tierney, Juliet 195 Tilford, Todd 113, 122 Till, Derek 126 Tipton, Franklin 138 Tisser, Jason 85 TNT 130 Todaro, Frank 175, 183 Toledano, Phillip 85 tonefarmer 168 Tool of North America 129, 134 TOPIX 145, 167 Torres, Matthew 94 The Tourette Syndrome Foundation of Canada 134 Tourism Victoria 129 Tovar, Rodrigo 118 Townsend, Shelly 175 Track & Field 134 Travelstead, Andrew 187 Travers, Danielle 151 Treadgold, Nicola 171 Treichel, Dan 151 Trice, John 94 Tricinci, Anna 195 Tricklebank, Ben 134 Tripp, Mark 154 Troyan, Sue 199 True, Jeremiah 145 Trumpy 107 truth 114, 120 Tseng, Richard 129, 137 Tubarão Filmes 141 Tucker, Angus 145, 172 Tucker, Samantha 179 Turcios, Juan 130 Tuxen, Kasper 192

v

Vaccarino, Tim 145 Valadão, Tiago 87 Valente, Joao 118 Valentine Distilling 125 Vall, Jon 170, 191 Valspar 122 van der Breggen, Alex 143 Van der Cruyssen, Damien 187 van Gelder, Joost 191 van Heijningen, Matthijs 191 The Vanity 184 Vape 96 Vapor Music 145, 172 Variachak, Donna 85 Vaught Studio 143 Vaz, Rani 180 Veal, Jay 180 Vega, Holly 180 Vegso, Terri 157 Venables Bell & Partners 126 Venables, Paul 126 Verdugo, Gala 167 Verma, Abeer 104 Vingiano, Jonathan 151 Vinyl Records 101 Violla, Stella 147 Visram, Nicole 153 Vitro 94 Vitro, Max 94 Volkswagen Canada 157, 195 Volt 130, 188, 196 von Bibra, Sonia 129 Voss, Will 195

w

Wadher, Gautam 104, 110 Wagner, Allison 175 Walker 199 Walker, David 91 Walker, Lucy 126 Walker, Mandy 180 Walker, Michael 184 Wall, Stacy 187 Wall, Tara 195 Wallace, Brian 101 Waller, Rick 153 Walls, Marco 110 Walmart 141 Walrus, Johanna 85 Wamsher, Chrissy 187 Wanda Productions 188 Wang, Amy 113 Warlus, Johanna 101 Watkins, Courtney 101 Watson, Ollie 179 Watson, Robert 114 Watts, Shannon 163 Weber, Netti 158 Wehrfritz, Curtis 195 Weiner, Francine 126 Weiss, Ari 134, 191 Weist, Dave 145 Wen, Louie 88 Wenneker, Mark 145 Wertheimer, Amy 176 West, Charlotte 104 Westman, Gordon 147 Westside Studio 94, 158 Wetzel, Andrew 130 Wheeler, Jake 147 Whitaker, Jimi 175 Whitby, Angela 85 White, Carl 130, 188, 196 White, Neal 107 Whitehead, Mark 98

Whitehouse Post 118, 180, 183, 188, 195, 196 Whitener, Wes 101 Wickham, Melanie 171 Wickman, Charley 85 Wieden+Kennedy 172, 179, 180, 199 Wiedensmith, Peter 179 Wilcockson, Emma 192, 199 Wilkie, Mark 153 Williams, Neel 183 Wilson, Beth 175 Wilson, Kevin 196 Wilson, Marc 187 Wilson, Steven 148 Wilson-Georg, Alyssa 132 Wine, Bill 175 Wise, Luc 85, 101 Wisniewski, Keith 192 Witzgall, Fred 85 Wolff, Steve 179 Wong, Alfred 96 Wong, Jeff 147 Wong, Jeremy 96 Wong, Willy 118 Wood, Matt 183 Mark Woollen Associates 130 Work Editorial 196 Wratchford, Ashby 184 Wright, Steve 164 Wu, Tracy 147 Wyville, Jon 148

x y

Xie, Chenghao 147 Xu, Zefeng 147

Y&R New York 199 Y&R Singapore 87, 92 Y&R Toronto 87, 104, 108, 169 Y&R/Red Fuse 110 Yahya, Geoffrey 118 Yaish, Fadi 96, 104, 110 Yamshuen, Komson 98 Yasgur, Jon 187 Yeo, Albert 87, 92 Yeoh, Jody 88, 113 Yetman, Lyle 91 Young, Rohan 192 Yu, Christina 157, 195 Yu, Richard 157 Yue, Chee Guan 88, 113

z

Zada, Jason 129 Zander, David 191 Zazzera, Ed 148 Zeepar 161 Zehner, Lucas 91 Zeigler, Tim 148 Zeno, Karol 175 Zero VFX 132 Zhang, Guo Long 88, 113 Zibert, Mark 171, 172 Zimmerman, Caleb 187 Zimmerman, Kevin 187 Zoot 110 Zucker, Lindy 134 Zulu Alpha Kilo 125 Zumbrunnen, Eric 192 Zuppa, Chris 145

Editor’s Note Every effort has been made to ensure that the credits comply with information supplied to us.

If, for any reason, a misspelling, omission or other error has occurred, notify us within 30 days and we will be able to issue corrected award certificates.

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DIRECTORY Featured in this issue Code and Theory codeandtheory.com Tyler Jacobson tylerjacobsonart.com Represented by Richard Solomon richardsolomon.com Marcus Smith marcussmithphoto.com Represented by Candace Gelman & Associates candacegelman.com Volume Inc. volumesf.com Exhibit Anagrama anagrama.com BBDO Atlanta bbdo.com Beakus beakus.com Cue designcue.com Giant Ant giantant.ca Impact makeone.ca JWT Brazil jwt.com Lorenzo Petrantoni lorenzopetrantoni.com Marty Weiss and Friends martyweissandfriends.com PB&J pbandjmkt.com Fresh Billy Kidd billy-kidd.com Represented by Walter Schupfer Management wschupfer.com Manasteriotti∞Maric manasteriotti.com Juliana Wang julianawang.com

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Advertising Annual 2014

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Our contribution to display legibility can’t be missed.

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