novdec2018 by Commarts

COMMUNICATION ARTS ADVERTISING ANNUAL 59

Daniel Zender Virginie Gosselin &Larry Greenhaus GFX Exhibit

November/December 2018 Twenty-Four Dollars commarts.com

NOVEMBER/DECEMBER 2018 VOLUME 60, NUMBER 5

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FEATURES

ADVERTISING ANNUAL

20 Virginie Gosselin

60 70 94 107 108 131 141 148 151 157 164

by Wendy Helfenbaum Fueled by her personal projects, this Montréal photographer satiates our hunger for fresh, zesty imagery.

COVER Source images (top to bottom,

left to right): magazine ad for Les Producteurs de lait du Québec, p. 62; magazine ad for LEGO, p. 61; poster for McDonald’s Switzerland, p. 83; poster for S. C. Johnson & Son, Shout, p. 73; newspaper ad for Camera Repair Centre, p. 67; digital ad for Tinder, p. 99; TV spot for Apple Inc., p. 153; poster for Kindai University, p. 80; self-promotion for The Matchbox Studio, p. 108; installation for Vimeo, p. 161; poster for Cinéma du Parc, p. 87.

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28 Greenhaus GFX

by Rebecca Huval A Los Angeles studio finesses motion graphics through tight corners, crafting title sequences that soar.

36 Daniel Zender

by Caitlin Dover Conforming to his own artistic vision, this Brooklynbased illustrator is mastering uncanny beauty.

44 &Larry

by Ellen Shapiro In an office building in Singapore, connoisseurs of fine design are capturing their clients’ stories.

52 Exhibit

The latest and best in visual communication from here and abroad.

Consumer Print Ads Posters Digital Advertising Self-Promotion Integrated Campaigns Public Service Public Service Television Radio Commercials Television Commercials Non-Traditional Advertising Student Work

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Esther Oh

172

Aundre Larrow This Brooklyn-based photographer listens carefully to his subjects to uncover the story in each shot.

174

Franziska Barczyk Fluent in illustration and collage, a Toronto-based artist is articulating her ideas in bold, vibrant tones.

176

Stout In the hills of San Francisco, a design studio has bolstered its foundation with advertising and illustration.

Production Director Lauren Coyne

Advertising Ernie Schenck warns against a future where creativity has been replaced by technology.

Environment Monica Kass Rogers discovers how conservation photographers are combating climate change.

Design Culture Having to revamp her website and find a new studio, Wendy Richmond adjusts the light on her story.

182

Creativity Joe Shepter charts a field pushing against the margins of the story as we know it.

Design/Production Associate Isabel Bagsik

Business Dave Kuhl asks the leaders of seven new ad agencies about the opportunities and pitfalls of startup life.

Production Assistant/Customer Service Representative Khader Yanni

186

Archivist Nancy Clark Lewis

Insights In a Q&A, Lee Simpson unpacks the crowded landscape of TV and entertainment.

Software Engineers Jiping Hu Srividhya Gopalakrishnan

Advertising/Circulation Director Dirk Moeller Contributing Editors Sam McMillan Wendy Richmond Ernie Schenck

Contributors/Directory Editor’s Column Favorites Book Reviews Index to Advertising Annual 59 Overheard

Volume 60, Number 5 commarts.com COMMUNICATION arts (ISSN 0010-3519) is published six times a year (January/February, March/April, May/June, July/August, September/October, November/ December) by Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107. Periodicals Postage Paid at Menlo Park, CA, and at additional mailing offices.

Competition Coordinator/ Administrative Assistant Rachel Whitaker

Technology Administrator Michael Hoyt

DEPARTMENTS 5 6 18 188 190 194

Editor At Large Anne Telford Art Director/Designer Joni Rivas

COLUMNS

178

Associate Editor Michelle Yee

Copyright 2018 by Coyne & Blanchard, Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the contractual arrangements with their clients. Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership. SUBScRIBER SERVICES: Subscription: 1 year, $53; in Canada, $70; all other countries, $110. All payments in US dollars, Canadian GST: 127848620.

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CONTRIBUTORS/DIRECTORY Features

Caitlin Dover (twitter.com/caitlindover) is a writer and editor based in New York City. She has held editorial positions at BMW Guggenheim Lab and Print and has taught at Pratt Institute. Dover holds an MA in design history from Bard Graduate Center. In this issue, Dover profiles Daniel Zender, a Brooklyn-based illustrator creating bold forms that draw you in. Wendy Helfenbaum (taketwoproductions.ca) is a Montréal-based journalist and TV producer whose work has appeared in Ad Age, Applied Arts, Metropolis, the National Film Board of Canada, Cartoon Brew and more. In this issue, she showcases the innovative passion projects driving Montréal-based photographer Virginie Gosselin’s career. Rebecca Huval (rebeccahuval@gmail.com) writes about design and the many ways it intersects with our world, from technology to business to food. Her byline has appeared in publications such as Wired, the Awl, Racked and Sactown Magazine. Formerly the managing editor of Communication Arts, she is now a writer based in Sacramento. In this issue, Huval visits Los Angeles and discovers how motion graphics studio Greenhaus GFX is doing more with less. Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, New York. Author of The Graphic Designer’s Guide to Clients (Allworth Press) and more than 200 magazine articles and posts about design, illustration, photography and visual culture around the world, she has been contributing to Communication Arts since 1991. In this issue, she travels to Singapore, where the designers at &Larry are crafting delightful work.

Columns

Monica Kass Rogers (monicakassrogers.com) writes and photographs from her home base in Evanston, Illinois. A letterpress printer who creates ephemera at Little Blue Press, she also cohosts the Pig & Weasel, an arts incubator and house concert series. In this issue’s Environment column, Rogers reports on how photographers are documenting and fighting climate change. Dave Kuhl (davekuhl@gmail.com) is a writer and creative director who’s worked for top agencies in Chicago, Boston, San Diego and Los Angeles. He also cofounded a boutique agency and is a four-time Cannes Lion winner. Along with being a contributor to Communication Arts, he works as a brand creative director/writer for Bauer Hockey. In the Business column, Kuhl discovers what’s behind the wave of new ad agencies.

Featured in this issue &Larry andlarry.com Virginie Gosselin virginiegosselin.com Greenhaus GFX greenhausgfx.com Daniel Zender danielzender.com

Exhibit Base Design basedesign.com Build studio.build Cornett teamcornett.com The Creative Method thecreativemethod.com Illo illo.tv The Mill themill.com Noise 13 noise13.com TBWA\NEBOKO tbwa.nl Y&R Prague prague.yr.com Zulu Alpha Kilo zulualphakilo.com

Fresh Franziska Barczyk fitza.me Aundre Larrow aundrelarrow.com Stout stoutsf.com

Advertiser’s Index AtEdge Epson JSR Stocksy Workbook Zahara Reps

C4 C2 C3 8 187 12

Call for Entries

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 BRIC’s Artists Advisory Council and the MacDowell Fellows Executive Committee. In the Design Culture column, Richmond is inspired to reconsider how she tells her story.

Illustration 2019

Ernie Schenck (ernieschenck.myportfolio.com) is a freelance writer, a creative director and a regular contributor to Communication Arts’ Advertising column. Schenck is an Emmy finalist, a three-time Kelly nominee, and an award winner at Cannes, the Clios, D&AD, the FWAs and the One Show. In this issue’s Advertising column, Schenck seeks out the Last Creative.

commarts.com/write-us No responsibility will be assumed for unsolicited editorial contributions.

Joe Shepter (shepter@gmail.com) is a freelance copywriter and ghostwriter who has written for global chief executive officers as well as for brands such as AT&T, Coca-Cola and Microsoft. In the Creativity column, Shepter explores the growing field of interactive stories.

In the 2018 September/October issue, on page 129, Ifat Grinbaum should have been listed as one of the senior designers on the Mekudeshet project. On page 170, Marina Beldi should have been listed as instructor and Marina Ferraz should have been listed as one of the designers on the Pyeongchang Olympics logo rebrand project.

Book Reviews

Toronto-based Chris Daniels (chris@chrisdaniels.ca) writes about advertising, marketing and visual communications for publications such as Applied Arts and Marketing.

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Submitting Work commarts.com/submissions

Writer’s Guidelines Corrections

Communication Arts | commarts.com

EDITOR’S COLUMN

Patrick Coyne

hile we did see a reduction in the number of entries submitted to this year’s Advertising Competition due to the ban on Publicis agencies from entering competi-

tions, there was still plenty of great work to judge. There were a few surprises amongst the winners—particularly the large number of integrated campaigns that were selected and the strong work in the student category.

“I thought the quality of the work was very high overall, but I was most impressed by the high caliber of design,” juror Nancy CrimiLamanna says. “I guess it’s no surprise given CA’s history.” “I was surprised by the high level of student work,” says juror Daniela Vojta. “There were some beautifully produced commercials with great cinematography, production design and acting. Way better than in my student days.” “The student work was incredible,” juror Anne Elisco-Lemme says. “I was impressed with not only the level of thinking, but also the level of production. Is this going to become the new norm for students? And if so, what extra burden does that put on them?”

LIBBY BROCKHOFF is chief executive officer and cofounder of Odysseus Arms, LLC in San Francisco, California. One of the few female agency owners in the industry, she’s crafted advertising strategies for firms like Facebook, HotelTonight, Microsoft and YouTube. She also reframed the transgender narrative as the creative visionary behind the launch of Caitlyn Jenner’s on-air image and activated Amnesty International supporters to help thenpresident Barack Obama’s Arms Trade Treaty pass in the United Nations. In 1996, Brockhoff cofounded Mother London, which was named Campaign’s Agency of the Decade in 2009.

Advertising Annual 2018

“There was a lot of work around the opioid epidemic, and fewer pieces around gun control and stopping mass shootings,” says juror Robin Fitzgerald. “I was surprised to see such a swing away from a topic that has been at the forefront for agencies and creatives for so many years.” “I noticed lots of ads for cannabis,” Vojta says. “It’s definitely a sign that advertising can adapt and will always be needed.” Several jurors commented on the overall serious tone of this year’s entries. “The lack of humor may be mirroring our society given the zeitgeist of the times,” says juror Nancy Hannon. “The occasional escapism of humor was that much more rewarding and memorable.” “I look forward to a future where we can once again cycle in a bit of fun and forego the necessity for brutal veracity in favor of a good imaginative expression of a brand story,” juror Libby Brockhoff says. “Don’t get me wrong; presenting a brutally real truth is a moving thing—I cried during a lot of the films we judged. I just look forward to lighter, more-effervescent messaging in media land.”

NANCY CRIMILAMANNA is chief creative officer at FCB Toronto. She accidentally became one of Canada’s first interns when she offered her writing services free of charge more than 20 years ago. She went on to create some of Canada’s most recognized campaigns, which have been awarded by Cannes, the Clios, Communication Arts, D&AD, the Effies and the One Show. Crimi-Lamanna also brought home Canada’s first Cannes Integrated Lion, for the Social Smoking campaign for the Ontario Ministry of Health and Long-Term Care. Recently, Strategy ranked her among the top creative directors in Canada.

ANNE ELISCOLEMME is executive creative director at Duncan Channon in San Francisco, California. She was introduced to the world of advertising as a child in Pittsburgh when her father, a creative director, would bring home the world’s most intoxicating markers. Still high from the fumes, she tried a career as a painter in New York City, failed, and shortly after found her way to the commercial realm. At Duncan Channon, her work has been honored by Communication Arts, the 4A’s, Graphis and Lürzer’s Archive, and she is a three-time finalist for the 4A’s O’Toole Award.

Photographs by Steve Castillo

In addition to asking the jurors for their views on this year’s entries, I also asked them how changes in media and culture will alter the role of advertising in the future. “As traditional TV continues to decline, we need to rethink what constitutes a mass channel,” says Crimi-Lamanna. “Most still think of social media as a channel to reach a passive audience. But social media is a many-to-many medium. It’s designed for mass collaboration, not just mass communication.” “There’s also a real opportunity to move from just storytelling and content creation on a bunch of different platforms to more ‘story doing’—where consumers are invited to participate in a variety of brand actions that prove that brand’s values in unexpected ways,” Fitzgerald says. “Thanks to all the tools we have now, brands are able to get so much closer to the consumer,” says Brockhoff. “It’s more intimate work that enables greater connectivity to brands, which makes all of us

ROBIN FITZGERALD is chief creative officer at BBDO Atlanta. Before making the move to Atlanta, she spent fifteen years in Los Angeles, working at Crispin Porter + Bogusky (CP+B) and TBWA\Chiat\Day. At CP+B, she led work for brands including Grey Poupon, Netflix, Old Navy and PayPal, for which she developed the brand’s first-ever Super Bowl ad, and took home PayPal’s first Cannes Lion. She started her advertising career in Nebraska as a copywriter at Bozell after graduating from the University of Nebraska–Lincoln. Fitzgerald has been named one of Business Insider’s Most Creative Women in Advertising.

happy—because that’s what we’re here for.” “The fact that brands are investing in higher-order benefits and standing for something bigger than brand attributes is refreshing—as long as the brand has a right to play in that space,” Hannon says. “I do think that the world we live in now is so jacked up that the ad industry is starting to shift how we see our role in it,” says EliscoLemme. “How do we help serve? How do we raise awareness of issues that need attention? We are all waking up to the realization that we are masters of shifting public thinking, and we need to start using our powers for good.” Selection for this year’s Advertising Annual required a minimum of four out of six votes. When judges’ pieces were in the finals, editor Jean Coyne or I voted in their stead. I would like to extend our grateful appreciation to our jurors for participating in our first-ever all-women jury and for their conscientious efforts in selecting our 59th Advertising Annual. ca

NANCY HANNON was global executive creative director at Ogilvy Chicago, leading some of the agency’s largest global brands, including contributing to the Cannes Lion– winning Kiwi Portraits Completed campaign. Her passion for purpose-driven work inspired her to launch #LikeAGirl Emoji, which confronts gender bias with the most global language: emojis. In the past, she worked at several top agencies, such as BBDO, Y&R, DDB and the Martin Agency, where she was group creative director on the Walmart account, changing the way 200 million moms perceived Walmart, with its Save Money, Live Better platform.

DANIELA VOJTA was recently named an executive creative director at BBDO New York. Previously, she spent five years as an executive creative director at McCann New York. She was born and raised in Rio de Janeiro, Brazil, but found life at the beach way too relaxing, so she went to New York City to work in advertising. She has been included in Ad Age’s Creatives You Need to Know and Adweek’s Creative 100 lists and was a Creative Director of the Year finalist for the 2017 Ad Age A-List & Creativity Awards. She has won numerous awards, including from the Art Directors Club, Cannes, the Clios, Communication Arts, D&AD and the One Show.

Communication Arts | commarts.com

DISCOVER AN EXCLUSIVE DISCOVER AN EXCLUSIVE COLLECTION OF STOCK COLLECTION OF STOCK PHOTOS + FOOTAGE PHOTOS + FOOTAGE

STOCKSY.COM

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ADVERTISING

Ernie Schenck

The Last Creative “Are these the shadows of the things that Will be, or are they shadows of things that May be, only?” —A Christmas Carol, Charles Dickens

nd so it was in those last days, when artificial intelligence had finally won the hearts and minds of advertisers and their agencies, when algorithms had driven the final stake into the heart of the human imagination. The few creatives who somehow managed to survive the end of the advertising world as they had known it scuffled from cities to towns in search of a home, finding work where they could. Sketching pictures that no one wanted to see. Writing poetry that no one wanted to hear. One by one, they succumbed.

“Hey, Julia. You don’t know me, but when I heard about you, I had to see if the stories were true.”

But then there was Julia.

After a long moment, she turned to look at me.

A friend of mine told me about her. She was a writer. A good one. AI never cared about awards, of course, but Julia had won them all. Even as the noose of technology tightened its grip around her spirit, as it had all of us, she refused to give up. Eventually, she lost her job, but not even this succeeded in bringing her down. She freelanced for a time, working for small clients in the hinterlands who still believed in human beings over machines. It wasn’t much of a living, but at least she could pay the rent, and it kept her sane. But even that dried up eventually. The last anyone heard, Julia had packed up her car and headed for Minnesota. Why, no one knew. All they could guess was that she had found something up there. A haven. A creative sanctuary.

“You know what sucks? What sucks is that people like you didn’t speak up. You knew what was happening. You knew about Watson and Marcel and Terranova. You knew what they were capable of. But no. You know what you and your buddies did when the first campaigns started getting launched with AI? You snickered. A joke, you called it. And now here I am, writing headlines for a church in the middle of nowhere.”

If it was the last thing I did, I was going to find her. She might well be the last of her breed. I know what you’re thinking. What does it matter? It isn’t as if this young woman is Shakespeare or Monet or Tolstoy. She wrote ads. That’s it. That’s all. Still…

JESUS HAD TWO DADS AND HE TURNED OUT JUST FINE.

On the flight to Minneapolis, I pulled out my notes. My friend who’d known Julia from their days at BBDO—the last good days, as it turned out—told me she’d grown up in a small village on a lake near the Canadian border. If she was in Minnesota, she was probably there. Although, what kind of creative sanctuary she could have found, I couldn’t begin to imagine. But then again, it was getting hard to imagine much of anything since the AI had taken over.

Not that there was anything wrong with that. Still, it had come to this. As I headed back to Minneapolis, all I could think was, how? How did we let it happen? At what point did we let the toys start playing with the people? But, all was not entirely lost. Was it? There was still Julia. There was still me. There were still thousands of us. We could turn it around. It wasn’t too late… was it?

The next morning, I was on Main Street. I thought that if anyone would know where I could find her, it might be someone from her old high school. A teacher. The principal. The janitor maybe. 10

Arthur Munson still taught French. It hadn’t been all that long since Julia had graduated and went off to college in New York City. Sure, he remembered her. Better yet, he knew where I could find her because yes, as a matter of fact, she had come back to town.

Advertising Annual 2018

The little church had one of those signs on the front lawn. You know the ones: little billboards with clever quips about heaven and hell and the word of the Lord. This one said, “YOU HAVE ONE NEW FRIEND REQUEST FROM JESUS.” I found her in the church basement, pecking at her laptop.

CHOOSE THE BREAD OF LIFE OR YOU ARE TOAST. TWEET OTHERS AS YOU WOULD LIKE TO BE TWEETED. ADAM AND EVE. YOU WOULDN’T BE THE FIRST NOT TO READ THE APPLE TERMS AND CONDITIONS.

GOD HAS NO FAVORITES BUT OUR PASTOR DOES. GO VIKINGS!

— Will there someday be a real Last Creative? I hope not. Make no mistake: Julia isn’t necessarily the shadow of what will be. Whether or not she turns out to be the shadow of what might be is up to us. Let’s not demonize technology. But let’s not lionize it either. ca

DESIGN CULTURE

Wendy Richmond

Changing Your Story

n her podcast Design Matters, Debbie Millman interviews Laurie Anderson, the multimedia performance artist, musician, writer and filmmaker who is known for her inspired storytelling.

see it in a new context. If I use my website as a fluid and changeable entity, I can explore reactions to it. And then I can see how I, in turn, react.

Early in the interview, Millman asks Anderson to talk about a childhood accident that resulted in a hospital stay of several months. Anderson is game to speak about the experience, but she is also clear that there’s another matter to discuss: the problem of getting stuck with a story.

Think about your own work. By reconsidering the way you tell your story, you’re also encouraging yourself to imagine the next chapter and, perhaps, begin its development. When you rethink your website or any other method of presenting your work, you’re taking the occasion to reexamine how you want to portray yourself.

“This [childhood episode] became … my stock story,” Anderson says. “It started to represent me.” Throughout the interview, she alludes to the ways in which, over the course of our lives and our work, we build an identity and then we stick to it. How do we portray ourselves? Whether we’re applying for a job, delivering a lecture, composing an elevator pitch or just introducing ourselves to a stranger at a dinner party, we are presenting an identity. Consciously or unconsciously, we develop a story about ourselves that, with time and repetition, comes to define us. If we forget to question it, it can become stale or even calcify. What if there’s a new story to tell? Anderson’s observations have been on my mind lately. First, because I need to update my website. My current site is ancient, and I have a new body of work that should be included. Second, I need to find a new studio because the building it’s in will soon be demolished. For my website, my first inclination was to revamp by adding on. After all, the old site has served me well, and the content is a sufficient documentation of my work history. I asked a young designer to help me migrate the old content to a platform like Squarespace or WordPress.com and then incorporate the new items. But as we created folders, replicating the categories of the old website, my enthusiasm dipped. My colleague stopped and said, “Is this website about ‘Wendy Richmond’ or your new work?” In other words, did I want to replicate my story or create a new one? I surprised myself when I said, “New work!” This opened up an unexpected opportunity. By concentrating on the new work, I’m able to shift my attention from a story that has been completed and solidified to one that is still being formed. My work has changed in medium and subject matter, and I’m eager to

I’m not saying we should leave out our resumes, awards and accomplishments or abandon our descriptions of previous experience. We worked hard for the accolades, and, more importantly, we have assembled a well-honed chronicle of our goals and passions. But do they all deserve equal billing? Should some parts recede and let the others gain attention? Like making a new website, my task of finding a new studio has a lot to do with my identity. But in this case, it’s not the identity I present to the world—it’s the one I present to myself. When I learned that I had to move out of my current studio, I immediately began looking for a space that matched its (perfect) profile: the right square footage, appropriately grungy, great people in the building and a nine-minute walk from my home. My studio has also been a sanctuary. It’s the place where, for the past three years, I’ve created work that has specifically addressed difficult circumstances in my life. But now, it represents a previous chapter. I could not—and should not—replicate it. That part of my life has passed. It’s time to see what’s next. The New York City–based nonprofit Creative Capital has a blog to help artists with issues like determining which website service to choose. It emphasizes ease of use, and its advice is like a metaphor: “The lower the barrier to … updating, the more likely you are to use the site and benefit from actively communicating what you’re doing.” As I work with my colleague on my new site, she listens to my protests—“Are there too many images? Should there be more categories? Can we add on to the text?”—and calmly says, “Don’t worry, you can change it.” And then I realize that what I’m really hearing is, “Don’t worry, you can change.” ca © 2018 W. Richmond

Communication Arts | commarts.com

310 383-1985 zaharareps.com

Chris Litwin

BUSINESS

Dave Kuhl

Living the Hard-Knock Startup Life

ou did it. You became ECD, CCO or VP Grand Poobah of a large agency. After years of working your way up the ladder, balancing endless toil and late nights, and amassing shelves full of shiny award hardware, you became a big fish in a big pond. So, what’s the next challenge? Maybe it’s time to jump into the abyss and start your own shop.

grating the analytic culture of consulting with the creative culture of agencies.

But, do you know how to incorporate? To secure financing? To set up a company 401(k) and health insurance? Do you even know how to fill out an invoice? This is the daily reality for the industry’s newest entrepreneurs. They’ve broken free from the hassles of agency life, but also its comforts and conveniences—and its safety net.

We wanted to build a successful business from the ground up with our rules, our philosophies and our creative vision. We saw a need in the marketplace for a nimbler agency that is adept at dealing with adversity and change and delivers outstanding creative and strategic thinking, sans egos and attitudes.

Lately, there’s been a flood of new agencies starting up. What’s behind the trend to jump ship and chart an independent course? I chatted with seven new-agency leaders to discuss their motivations, their biggest challenges and what they’ve learned so far in their quest to be the next Droga. Let’s start with the reasons behind starting your own shop.

RAFAEL RIZUTO, chief creative officer, TBD (San Francisco, CA) I was feeling a bit disenchanted with some of our industry’s business practices becoming too bureaucratic and out of touch. At the time, I didn’t see any other place I’d rather be, so I decided to stop whining about it and start my own thing.

MARK GROSS, creative director, Highdive Advertising (Chicago, IL)

There are egos in advertising? Get out of here! Seriously though, it’s a boom time for agency startups. What’s behind the trend? Miller: Small is the new black. Both clients and agencies see the limitations of big. Clients are switching from traditional retainers to project-based relationships, which favors small over big. Rizuto: A bunch of people weren’t happy with the way things were at their agencies. Also, clients are more receptive to a more nimble and agile agency, with less processes and overhead. A couple of months ago, I was talking to a very prestigious chief marketing officer of a very big company, and he was complaining about how only 30 percent of the money he pays to his agencies goes to creative, which is the only thing that adds value to his business.

ANSELMO RAMOS, chief creative officer, GUT (Miami, FL)

What other industry trends spurred you to start an agency?

SEEMA MILLER, president and chief strategy officer, Wolfgang

(Los Angeles, CA)

My partners and I realized that the traditional agency model was broken and losing relevance. In addition, management consultancies were encroaching on agency turf by acquiring creative shops. The challenge we saw is inte-

The bravest clients in the world are totally open to independent agencies. They buy bold ideas. They buy passion, obsession, trust and commitment. And we can totally deliver on it. As an indie shop, you can partner for any capability they don’t have in-house. All of you came from big agencies. What lessons learned from those big shops do you put to use now? Gross: I grew up at DDB and have tremendous respect for the organization and what it stands for. DDB’s founder Bill Bernbach is Communication Arts | commarts.com

BUSINESS a legend and my personal hero. There are three rules of his I use to guide my own career: The most powerful element in advertising is the truth. Hire good humans. Advertising is persuasion, and persuasion is not a science, but an art. Ramos: Don’t have clients; have partners in crime. That’s the most important thing. You need to be 100 percent aligned with your clients and share the same ambition. Rizuto: This one I’ll steal from Sir John Hegarty: In big agencies, you get to work with big clients. You are exposed to how businesses work from the inside out. You get to spend time with super smart chief marketing officers and chief executive officers from all kinds of industries and help them move, and you sometimes shape their business with creative solutions. This is better than any MBA. What kind of research did you do before starting your agency?

CHARLES HODGES, executive creative director, Arts & Letters Creative Co. (Richmond, VA) . I actually interviewed more than 40o people in and out of the industry before I officially launched the company. I sat down with everyone from Lee Clow to my grandmother. It was a grand education in what truly matters, which is ultimately one thing: people. At the end of the day, you’re building a place for them to come together and dream. Everything else is just a by-product of that environment. How are you planning to make your agency different? Miller: We’re designed as a creative consultancy and ad agency. About half our clients come to us for pure consulting projects, and the other half for full-service campaigns as their AOR. The biggest difference is in the way we hire and work. We hire seasoned talent along with fresh young minds and eliminate the middle. Instead of briefing three to four teams on a project, we brief one to two teams. That way, everyone feels accountable and has the opportunity to shine. The result is better ideas, faster. Hodges: We don’t have a binary approach to what kind of partner we are. We’re comfortable working as an AOR, working alongside an internal creative group or working on the right kind of project. We’ve found it best to be flexible. Agencies love to roll out a unique internal process when pitching new clients. It’s often a snazzy acronym or a catchy tagline. How important is it to have one of these when pitching new business? Miller: The process is only as good as the outcome. I don’t know if clients care about the process, but they certainly want better work and greater efficiency. 16

Advertising Annual 2018

JAIME ROBINSON, chief creative officer, Joan (New York, NY) It’s very important, but only if you live up to it. Otherwise, it’s just bullshit in a rhinestone jacket. Rizuto: We can come up with a bunch of processes and gimmicks, but at the end of the day, it’s all about people—strong partnerships and the passion you bring to the table. No bait and switch. You genuinely have to have the clients’ interests at the core of what you do. They can smell it if you don’t. Hodges: We don’t really have an agency process for pitching other than being honest about what we think will be the best solution for the problem. We hop on a phone or a plane, do a lot of listening, and then share a bit of our own story and perspective to see if it might make sense to work together. We have the words “We’ll figure it out” written on a huge wall in the middle of the office, so maybe that’s the closest we’ve come to defining it at this stage. Gross: Processes and tools position strategy and creativity as scientific and clean. Great clients know that neither is true. The process of getting to magic in the strategy and creative is often messy and sometimes involves unexpected steps as we chase down the things that can move the business forward. In my experience, the muddier things get, the more magical the outcomes are for our clients. Rules are meant to be broken. And so are processes. Now that you’ve been at this for a short time, what’ve been some of your biggest challenges?

MARK FITZLOFF, creative director, Opinionated (Portland, OR) How do we service the business we have while developing new relationships for growth? How do we forecast when a fair chunk of work comes from projects? How do we do Wieden+Kennedycaliber work without the bench strength and support of a machine like that? Ramos: The biggest challenge is the financial. We don’t have daddy anymore. We’re on our own. We decided to be 100 percent independent. We had some considerable offers from investors and rich friends, but we decided not to take them. I got a second mortgage on my house to help finance the operation. I’m staying at motels, with a capital M. My next paycheck will be in March 2019. But I think it’s all worth it. How do the day-to-day stresses of running your own shop differ from working for an agency?

Gross: Simple. Owning a business versus working in a job. Yes, I’m a creative director, but I’m also making significant legal, financial and personnel decisions to grow our company. Robinson: There are very few moments of your life that you aren’t thinking—in some part of your brain—about the business. Hodges: At the end of the day, all tough calls land on my plate. That’s the biggest difference. I do, however, know a lot more about 401(k) administration and health insurance than I did two years ago. Miller: We worry about keeping the lights on—literally. If a light bulb goes out, we have to get a ladder to replace it. Strangely enough, we don’t worry about keeping the lights on metaphorically. We just focus on doing the kind of work that brings in more work. What advice would you give to someone who’s working at an agency and thinking of starting her own shop? Fitzloff: Wherever you are right now, go to school for the business before you leap. Before you try it, learn the business model and the financials and anything else they’re willing to teach you. If you can pull it off, do it without funding from another agency.

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Hodges: Don’t wait. And maybe do it in a place that you would actually want to live for the rest of your life. You’ll find a reservoir of patience and courage that you didn’t know existed within yourself. Gross: The business leadership side of the coin is just as important as the creative output. Ultimately, if you like taking risks, building something from scratch, overcoming challenging obstacles and being your own salesperson, I say go for it. What do you want your agency to be known for five years from now? Gross: I’d like for all of us to feel like we’ve built something that’s helping to restore advertising’s luster. Miller: To be regarded among the best creative thinkers in the industry. Rizuto: I want TBD to be known for its work. Work that promotes brands and inspires people. I really do believe that creativity has the power to make the world a little better, and brands have the responsibility and, most importantly, the means to improve society. Hodges: If we could be known as one of the most talented and kind places in the business of ideas, I think we’d all be pretty proud. Robinson: We hope to be seen as a creative company that continues to innovate through the kind of work we make and the way we make it. Ramos: I want GUT to become the go-to agency for brave clients. Fitzloff: I’d like Opinionated to be known for its amazing culture and as a safe haven for creativity that is free from politics, where people can be themselves and work at a place they really believe in. But I’d settle for being the second-greatest creative story out of Portland, Oregon. ca Communication Arts | commarts.com

Five Ad Creatives Share Their Treasured Finds MARQUES GARTRELL Deutsch Brooklyn, NY

Creative fuel: Music. Having great songs on in the background makes the workday fly by a lot quicker. I always find inspiration in the breadth of expression that musicians continue to uncover every day. At Deutsch, we’ve even created a collaborative playlist that we play in the office. Inspiring reads: I’ve been finishing up Chuck Klosterman X: A Highly Specific, Defiantly Incomplete History of the Early 21st Century, by Chuck Klosterman, and also Basketball (and Other Things): A Collection of Questions Asked, Answered, Illustrated, by Shea Serrano. I find both of these writers inspiring because of their ability to write about topics they absolutely love from a perspective that may not have been explored before.

Amazing campaign: I’m still high on the Emerald Nuts Yes Good campaign from 2017, where Barton F. Graf took inspiration from real customer reviews. The insight is incredible—knowing how many clients have been pining for user-generated content in recent years. And when the consumers actually love your product, it’s awesome to let them do some of your job for you.

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LIZ VALENTINE Swift Portland, OR

Fresh resource: I’m digging Muse by Clio, a new content platform led by former Adweek editor Tim Nudd. It’s full of thoughtful, newsy features that take you inside the world of advertising. Healthy habits: I’m a big believer in moving every day. I practice yoga four to five days a week, and I find that a sweaty session on my Peloton bike instantly clears my head. I also love a good walking meeting and try to take one to two meetings a day walking through the streets of Portland. Powerful network: I recently attended a workshop—led by Caroline Whaley and Anna Baréz-Brown, the cofounders of Shine for Women—that helped senior-level women leaders plan their careers. I now network with these women and see them committed to their careers and advancing in them. Clever ad: Sömnig, “the sleepiest print ad ever made,” for IKEA’s line of mattresses and beds. It came on the back cover of the United Arab Emirates magazine good. Printed with lavenderinfused ink, it also converts into a white noise machine to help you sleep.

JAY RUSSELL

CAROL H. WILLIAMS

PAOLA SCHIFINO

GSD&m Austin, TX

Carol H. Williams Advertising Oakland, CA

Schifino Lee Advertising + Branding Tampa, FL

Underappreciated creative tool: The off button is by far the most underappreciated tool in the creative community. Actually, this is pretty much true for every community.

Stress reliever: I’m a tennis player. When a tennis ball comes toward me, I take my Roger Federer Pro Staff racket, visualize a face or an issue, and knock the hell out of it.

Valuable platform: People underestimate the power of LinkedIn. The platform constantly introduces you to like-minded people you would have never met before, but who are now linked to you in some way. I approach these people through LinkedIn as if they were standing next to me at a networking event, and I probably have a 75 percent success rate in setting up coffee meetings with them to discuss their businesses.

Wider perspective: I was telling my neighbor Doug about how we won a few Cannes Lions and what that means in our industry. His response was awesome: “Jay, I hate to tell you this… but nobody gives a single shit about advertising except apparently the people making it. Enjoy your trophy.”

Eye-opening book: The Plot to Hack America: How Putin’s Cyberspies and WikiLeaks Tried to Steal the 2016 Election, by Malcolm Nance. This “woke” me to how incredibly powerful strategic messaging is and how critical a role messaging plays in the daily lives of people.

Guilty pleasure: Jack in the Box tacos. Best thing ever. When my wife and my daughter are out of town, I bring home some tacos, load them up with their delicious hot sauce, and then dispose of them outside, at the bottom of the trash can. The lack of smell hides my guilt.

Dream collaborator: I’m blessed to have begun my career working with Leo Burnett, although I wish I could have worked more intimately with him. He was a brilliant creative and seemed to love what he did. Every campaign that came out of his agency stands as the symbol of excellence.

Mind-blowing work: Fearless Girl. It’s a message from a company with a point of view. Statues aren’t supposed to be advertising mediums. Regardless, it still blows my mind and makes my eyes water when I think about my own fearless girl, Sadie.

Priceless help: My assistants read the 1,000 emails that come in every damn day and give me accurate reports on what I need to absorb in order to keep us moving forward. Emails— the worst creation since Facebook.

Enlightening volume: Ibiza Bohemia, produced by Renu Kashyap and written by Maya Boyd. During the ’60s, the island of Ibiza was a safe harbor for all types of artists, where culture, natural light and the landscape served as muses. I visited Ibiza this past June with my family. Emerging talent: Our amazingly talented copywriter Johnny Crowder. He is also the lead singer for the band Prison and has just launched a company called Cope Notes, which supports people suffering from depression and other mental health issues. End-of-day reward: My dog, Duke. He lies at my feet like I am the only thing that matters.

Communication Arts | commarts.com

VIRGINIE GOSSELIN FRESH EYES

BY WENDY HELFENBAUM

ne bright spring morning in a whitewashed Montréal photo studio, a pile of fruit got an unexpected makeover. A dozen hairy coconut halves, treated to several coats of lime-green paint, were neatly arranged on a table beside turquoise cantaloupes and fuchsia kiwis. Nearby, clusters of mustard-yellow grapes dangled from a black metal rack while a clump of cherries waited to be transformed. About to be paired with this vibrant fruit salad, rows of headphones, microphones and old 45-rpm records are drenched in peach and mint green. Welcome to Virginie Gosselin’s world, where everyday objects become show-stopping works of art. In business a scant four years, Gosselin, 27, has snagged more than a dozen prizes, from Applied Arts, Communication Arts, LUX and the Gourmand World Cookbook Awards. She’s sought after for her versatile skills, shooting everything from lush documentary images to graphic conceptual shots for product and editorial spreads. Known for her hands-on approach, Gosselin could easily be mistaken for a prop master as she carefully slices a hot pink kiwi with a large chef’s knife and walks it over to the set, her black leather high-tops squeaking slightly on the concrete floor. An assistant suspends the fruit over a pink microphone base as Gosselin delicately positions both elements. Satisfied, she steps behind her Canon and snaps several frames.

“Our kiwi is gorgeous and juicy; look at that perfectly hairy skin!” she exclaims, glancing at the monitor. Nearby, the creatives from Montréal agency ēthos smile. They know from previous shoots with Gosselin that they’re in extremely capable hands. Born into a family of award-winning artisanal cheese makers in Saint-Jean-sur-Richelieu, Québec, just south of Montréal, Gosselin grew up on land first owned by her grandfather.

There, she quickly developed a passion for farm-fresh food. While her older sister, Marie-Pier, planned to continue the family business crafting organic, raw-milk cheese, once Gosselin discovered photography in high school, her path was set. She moved to Montréal to study photography at Dawson College, where she mostly shot portraits of musicians. However, she was drawn to still life photographs of objects arranged in their natural settings, which she attributes to time spent among cows, food and fresh air. Upon graduation in 2011, Gosselin received a full scholarship to the Savannah College of Art and Design. But when Venezuelanborn Montréal photographer John Londoño spotted her student projects online depicting fictitious ad campaigns for chewing gum and strawberry jam, he offered her a job as his assistant. “I realized that working with John would probably be better for me,” says Gosselin of the three-year stint that she credits with giving her invaluable insight into the industry. Before long, Gosselin began photographing cheese at her family’s farm. “To me, cheese is really beautiful; it has a texture that’s fun to work with and photograph,” she says. “It just made sense for me to bring my two passions—food and photography—together and make it my work. It’s fun to talk about recipes and taste new ingredients. Why would I photograph people or fashion when I can photograph food and eat it afterwards?” In 2015, Gosselin and her sister published a book, Au Gré des Champs (What Comes From the Field), named for the family farm. Part coffee-table art tome, part memoir and part cookbook, the project chronicles the fifteen-year history of

Right: “À la recherche du goût (In search of taste) is a series that illustrates a scientific article about taste and how it is influenced by other senses. Antonin Mousseau-Rivard, chef at Québec’s renowned restaurant Le Mousso, was the perfect partner to realize this project. In his kitchen, all senses are brought into play.” François Émond, Québec Science, art director; Antonin Mousseau-Rivard, Le Mousso, food stylist; Québec Science, client. 20

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VIRGINIE GOSSELIN

the family’s cheese-making business. “The idea came to me many years ago because it’s so inspiring and beautiful at the farm, and nobody really understands the amount of work behind cheese making,” says Gosselin. “You need to grow cereal to feed the 30 cows; you can’t go on vacation because they need to be milked every day. I’ve always taken pictures of the farm and the cows because they’re so photogenic.” In 2016, Gosselin created another innovative personal project, Chasseur de trésors (Treasure Hunter), which transformed “ugly” seafood into gorgeous creatures. “When we think about octopus, shrimp or soft-shelled crab, they’re not good looking, and nobody wants to eat that if they see it; they have to be hidden and deep fried,” she explains. “I wanted to reveal that, so I shot them dredged in flour, right before they’d get fried, and imprinted the seafood in the flour, like sand.” The series was so striking that Dînette magazine published it in a 2017 issue. “Virginie has an exceptional eye, but what makes her unique are her incredibly fresh and eye-catching personal projects,” says Gabriel Lefebvre, creative director of ēthos. In fact, he notes that one of Gosselin’s personal series—Painted II, featuring hand-painted cabbages that appear to be floating—inspired the concept for the very first campaign that he and ēthos copywriter Rachel Lecompte collaborated on with Gosselin. That campaign was for Piknic Électronik, an electronic music festival staged in a Montréal urban park once a week throughout the summer. The clean, powerful visuals Gosselin shot of typical picnic fruits fused with electronics illustrated the

event’s “savor the summer” theme and were displayed in Montréal subways in 2016. The images were also showcased in the festival’s other locations—Barcelona, Dubai, Lisbon, Melbourne and Santiago. “She’s developed a whole new visual language and way of seeing things. Looking at her portfolio gave us great ideas for strong branding concepts,” Lefebvre says, adding that for the festival’s 2018 campaign, ēthos is expanding upon the same concept with more surprising color combinations. “Virginie’s work is so easy to sell to our clients because they can see the proof of her vision and her artistry.” Following the hugely successful 2016 Piknic campaign, Lecompte and Lefebvre were tapped to work on Igloofest, an outdoor electronic music festival that takes place each winter in Montréal. The concept: celebrating and defying winter by billing the event as the coldest electronic music festival in the world. The ēthos team thought that freezing items of winter clothing in giant blocks of ice would be, well, cool. And they knew exactly who could realize their vision. “The clients wondered if Virginie was the right person because she is known for food photography, but the photographers who had already shot ice photos weren’t ones we wanted to work with,” says Lecompte. The items had to look like they were “in action,” and Gosselin offered to do tests on her own by freezing different things in blocks of ice and photographing them. “Most photographers would retouch the images by adding an ice texture in post-production, but Virginie wanted to do it for real. She froze gloves and boots in giant coolers, and we did some tests to show the clients she was the best person for the job. She was amazing,” says Lecompte. Food stylist Heidi Bronstein says one of Gosselin’s greatest strengths is her determination to try new things. “Virginie is so down-to-earth, with no pretense. Maybe because she’s a country girl who grew up on a farm, she has a great work ethic, and she’s not afraid to get her hands dirty. That’s part of her work; you really feel that,” says Bronstein, noting that although Gosselin is young and new to the industry, she’s already proven herself.

Right: “Featured in the Salé issue of Dînette magazine, this personal series shows raw and naked seafood right before they are buried in flour to be deep-fried. I shot this series before even knowing where it would be published. I first showed the images to writer Alexandre Soublière and asked him to write a short text to accompany them. He wrote a story about a little boy’s poetic interpretation of his thoughts as he looks at the raw seafood.” Dînette, client. “Every winter for the past twelve years, thousands of electronic music lovers have been gathering in Montréal’s Old Port to celebrate Igloofest, the coldest electronic music festival in the world. The campaign presents the event as a challenge, practically daring participants to party hard during some of Québec’s coldest winter nights. Its double-meaning tagline—‘You’ll stick to it’—promises a memorable experience while implying that attending is a risky business. To illustrate the concept, winter clothing was arranged into festive positions, frozen in huge blocks of ice and photographed in a giant freezer. The artistic direction recalls darkness and frigid night temperatures lightened with the lasers and colorful projections traditionally associated with the Igloofest event.” Rachel Lecompte, ēthos, writer; Gabriel Lefebvre, ēthos, creative direction; Mariane Stratis, prop stylist; Julien Doré, Arctic Glacier, contributing artist; Visual Box, retoucher; Maripierre D’Amour/Piknic Électronik, clients. 22

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Communication Arts | commarts.com

Advertising Annual 2018

VIRGINIE GOSSELIN Last year, for hotel Fairmont The Queen Elizabeth’s upscale restaurant Rosélys, Gosselin’s clients needed 60 photos during a one-day shoot, including fifteen chef portraits. “That was an intense, crazy day, but really fun,” Gosselin recalls. “When I go on location for a restaurant, I only want to work in natural light because that’s what the [restaurant patrons] are going to see. It’s important for me to work this way. The space was amazing; the lighting was perfect. The chef was very helpful, making sure everyone changed jackets quickly.” Gosselin so impressed the client that she has since photographed several other Fairmont properties across Canada. Sometimes, Gosselin works with clients whose products aren’t edible but are still very much related to food. For example, a 2017 project for ceramic artist Pascale Girardin showcases dishes and cups inspired by the raw beauty of Québec’s Saint Lawrence River. In Gosselin’s images, the pieces hover in midair. “My vision started with three colors: dark black with a little bit of purple, and then gray moving towards green, followed by more blue,” says Gosselin. “The texture reminded me of cement, yet the dishes are fragile, so I wanted them to float in an elegant way. This was all about movement. I like doing projects with artists because I enjoy being creative with them.”

Left: “I have been hired by many Fairmont hotels to help them build new and fresh imagery for their restaurants. I had the creative freedom to take this casual portrait of Fairmont Tremblant’s food and beverage outlets director in the hotel’s Choux Gras restaurant.” Claudia Emde/Nicole Lapointe, project directors; Fairmont Tremblant, client. “This portrait was part of a series of images taken for the new website and Instagram account of the restaurant Rosélys, which is revisiting the splendor of a golden age, crowned with a touch of royal refinement unique to Fairmont The Queen Elizabeth in Montréal. It was a pleasure to be asked to photograph the ambiance, food and people in such a beautiful restaurant. The natural light was unique and gorgeous!” Simon-Charles Couture-Labelle/Paul Transon, art directors; Brad, agency; Fairmont The Queen Elizabeth, client. “This image is very central within the cheese book that my sister and I created about our family farm. It shows the beauty and art of handmade cheeses.” Julia Duchastel-Légaré, editor; Johanne Depelteau, food stylist; Noémie Demers, prop stylist; Les éditions du passage, publisher. This page: “This series was created to showcase, in three diptychs, local ceramist Pascale Girardin’s classic dishware collection Intemporelle. Capturing the raw beauty of the Saint Lawrence River, Intemporelle evokes the texture of granite river stones and the ethereal quality of sea foam on the waves. Natural and sophisticated, the tone-on-tone collection in its subdued palette of charcoals and grays is—as its title suggests—timeless.” Pascale Girardin, fabricator; Collections Girardin, client. Communication Arts | commarts.com

VIRGINIE GOSSELIN Bronstein predicts that Gosselin’s success story is just beginning, partly because of her great respect for the teams she works with. “Virginie is really chill; she may be stubborn sometimes, but that’s because she knows where she’s going,” explains Bronstein. “She can be motivated to change her mind sometimes, but she pretty much knows exactly what she wants, which is something that usually comes later in life. She’s not afraid to say, ‘No, that’s ugly.’ Being self-confident really helps in this industry.” While Gosselin’s rising star means putting some personal projects on the back burner, she intends to keep following her muse. “I’ve been really, really busy, and I need to think about another creative project because that’s what inspires art directors, and that’s what I love doing,” she says. “When I see my personal projects on their mood boards, I’m so happy because it means I did my job.” ca

This page: “Piknic Électronik is an all-day electronic music festival. Playing with the name of the event, we combined picnic fruit and electronic DJ equipment. The images were created by photographing real objects that were hand painted in bright, surprising colors. The Piknic team had the excellent idea of running the campaign over a period of several years, once again asking ēthos and me to design a series of visuals to be added to those already existing. This enabled them to continue using the images we had created two years ago while adding fresh new visuals. The result was an extended family of eight colorful, eye-catching posters destined to adorn the subway stations and streets of Montréal all summer long. What was originally intended to be a seasonal campaign has become the ongoing visual identity of the event.” Rachel Lecompte, ēthos, writer; Gabriel Lefebvre, ēthos, creative director; Mariane Stratis, prop stylist; Visual Box, retoucher; Maripierre D’Amour/Piknic Électronik, clients. Right: “Rendez-vous, a personal series imagined with prop stylist Pierce Atkinson and food stylist Heidi Bronstein, plays with perspective while revisiting the food styling of past decades. I found recipe inspiration while flipping through some old French cookbooks at the Grande Bibliothèque, a public library in Montréal. I really love the art of plating from the late twentieth century.” Heidi Bronstein, food stylist; Pierce Atkinson, prop stylist. “I really like to work with small artisans because they are always open-minded to creative projects. I suggested this colorful idea to ceramic design and production studio Atelier Make to go with its new pottery collection. A simple and fun shoot, where I had the chance to do the styling as well.” Maya Ersan/Jaimie Robson, fabricators; Atelier Make, client. 26

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Communication Arts | commarts.com

MOTION MAVEN BY REBECCA HUVAL

mbers fly toward a warrior’s shield, surrounding her in a coil of smoke. Sparks crackle from the tiara on her forehead. Cut to the next sequence, and she’s leaping from a cliff into a sapphire sea.

“They must have developed my whole personality, which I didn’t realize until I was older,” she says, “And then you’re older and you’re like, no wonder.”

Of course, this is no ordinary woman. It’s Wonder Woman. You may have watched this title sequence cap off the eponymous summer 2017 blockbuster directed by Patty Jenkins, but you might not have known that the motion graphics were created by another wonder woman.

Not far from Sony Pictures Studios in Culver City, Los Angeles, on a block lined with California comfort food restaurants and a funky froyo shop, Greenhaus GFX occupies a shotgun sliver of a second floor. Two animators worked together in a shaded room that overlooks the sidewalk while Greene taps away at her towering Mac desktop with her blinds drawn. The better to see movies with.

Helen Greene had only launched her studio, Greenhaus GFX, in 2009. In the years since, she’d bootstrapped title sequences with small budgets and even smaller crews for films such as Fury and Entourage. With that same gumption, she was determined to land DC Films’ high-profile project. Her team was up against several studios in the United Kingdom, where much of the movie was filmed. Warner Bros. was incentivized to choose a British vendor because of a rebate, so Greenhaus was the only American studio in the running. “My husband was like, ‘You’re never going to get that job,’ and I was like, ‘I might,’” Greene remembers. She relentlessly shared clips with a former colleague who worked as the post-production supervisor. After feedback and a round of revisions, the Wonder Woman crew noticed how well Greene and her team listened to direction. So Jenkins hired them. “It was a miracle.” Greene had watched an early screener of the movie and just knew it was going to be a “slam dunk.” Under Jenkins’s direction, the superhero wasn’t strong despite her feminine qualities, but because of them. Then, it clicked for Greene that those TV shows she had watched as a young girl in the 1970s must be responsible for who she is today: Lynda Carter twirling to transform into Wonder Woman, Charlie’s Angels wielding weapons with their disco-ready hair. Today, Greene embodies that fierceness as she raises three children while leading a company in a male-dominated industry.

Growing up and out

In total, they are a lean staff of four. Near a desk in the hallway, Wonder Woman holds her sword in a movie marquee signed by Jenkins: “Thank you”—underlined twice—“for the most incredible, gorgeous & badass title sequence of all time. I/we love it so much. Can’t wait for more.” Greene’s office is lined with knickknacks of inspiration: a Donnie Darko bunny figurine, Kewpie dolls and a rock crystal lamp. Her decorational aesthetic hints at the studio’s draw toward the macabre and the art-school bizarre. There’s a reason for that. Greene herself is an art-school kid through and through. She started drawing seriously in the sixth grade. Ultimately, she attended Minneapolis College of Art and Design and got her BFA in illustration and fine arts. “I thought I was going to be this famous painter,” she says. “Yeah, that didn’t happen.” She applied to work in Hallmark’s illustration department. “My work was really dark, and they were like, ‘Ehhhhh,’” she says. Creatively frustrated, she decided to attend ArtCenter College of Design. “I took my first After Effects class, and I knew that was what I was going to do for the rest of my life,” she says. This was around the time that the neo-noir crime thriller Seven came out in 1995, and Greene was gobsmacked. Its title sequence came to define the process that Greenhaus

Captions supplied by Helen Greene, who was the executive creative director on all projects shown. Right: Main-on-end title sequence. “When I heard they were making Wonder Woman, I just had to be a part of it. I found out that a post-production supervisor I had worked with on the Warcraft film was working on Wonder Woman. After bugging him for eight months, I decided to just start sending him some ideas. He finally got us on a Skype call with director Patty Jenkins, and we discussed her passion and inspiration for the film. Amanda Koh, my art director, created frames that Patty loved.” Matthew Gleason/Amanda Koh, art directors; Matt Redding/Josh Studebaker/Jeremy Wabiszczewicz, design; Jason Doherty, creative director; Paul Holtzhausen, executive editor; Joseph Conover/Stevan del George/Sarah Federico/Steve Gagne/Jose Ponce/ Efram Potelle/Francisco Sánchez de Cañete/Samesha Singletary/Alex Warner, artists; Megan Hamilton/Greg Medina, producers; Warner Bros., client. 28

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GREENHAUS GFX follows today: crafted with a low budget but high production values, using a lack of resources as an invitation to experiment. Not to mention, the jittery cuts and scrawled writing appealed to Greene’s grim style. © Miko Lim

ArtCenter was one of the best times in her life, she says, though the art critiques were grueling and the teachers were tough to please. “That really got me ready for my first boss,” she says. “Though I love him, he was a yeller.” After graduation, she worked in motion graphics at advertising agencies for more than a decade, crafting movie trailers. At her last job as an employee, she once scaled up a graphics team from one to sixteen designers. She treated the department as if it were her own and used it as a training ground for her big dream. “I had a four-year crash course, but not using my own money, which I sure miss,” she says with a wry laugh. Her boss let her go because her husband launched a rival company, a conflict of interest. So, just as she was pregnant with twins and her partner was striking out on his own, Greene launched Greenhaus GFX—during the recession. “The best time to start a company is when people are cutting,” Greene says. “If you learn how to do something cheap, you can really learn how to do it. Sometimes having to do grunt, guerilla-style makes the work better.” That’s evident in Greenhaus GFX’s work for the 2015 comedy Entourage. The team had three days to shoot and exactly zero permits to do so. The brief? Craft a title sequence inspired by the HBO show’s opening credits, in which Los

Angeles buildings—edited in post-production—have neon signs revealing the names of the cast. During Super Bowl weekend, Greene, a director of photography and a camera assistant drove around the city in a top-down convertible with a camera on the floor. “If we got pulled over, I was going to say it was a student film because it looked like it,” Greene says. The first day was overcast, and the following two were sunny, but they simply had to edit these details to match because they didn’t have the money to shoot again. In post-production, Greenhaus GFX stepped it up with motion tracking and rotoscoping that allowed layers—such as blue skies and the cast’s names—to move realistically within the shot. During filming, the Los Angeles Memorial Coliseum was surrounded by construction scaffolding, but the team modeled and animated a new, clean building and edited it back into the scene. The result is a slick time capsule of Los Angeles architecture that looks even sharper than the opening credits that had inspired it. “I was really proud of that because it was a really big project for us at the time,” Greene says. Jared Fujikuni, associate art director at Greenhaus GFX, loves collaborating on these experimental title sequences with a small team. “I feel like I’ve grown as a person from this job,” says Fujikuni, who’s been at Greenhaus GFX since early 2016. “We work in a fast-paced industry, so it’s tough, but [Greene] pushes us to be creative, which is awesome as an artist.”

Making do As someone who excels at improvising with limited resources, Greene has found a way to craft elegant title sequences with her tight-knit team. She says she feels more nimble in scaling up or down the workload with a leaner staff, plus freelancers as the need arises. Lately, they’ve created title sequences for several horror movies produced by Blumhouse Productions, including Insidious: The Last Key and Happy Death Day.

This page: President, owner and executive creative director Helen Greene. Right: “The director and producer of the Entourage film wanted to pay homage to the original title sequence of the show. We started with stills from around Los Angeles, compositing all the names [of the cast] into the shots. Once we got approval, we scheduled a three-day guerilla-style shoot over Super Bowl weekend.” Devin Ballard, art director; Justin Hamilton/Amanda Koh/Tingting Li/Matt Redding/Ben Segall/Justin Timmons, designers; Jason Doherty, creative director; James Lee/SK Nguyen, visual effects supervisors; Stephen Gall/Aya Peard/Jamie Sapp/John Schratz/Tyler Tometich/Kevin VanHook, compositors; Kyle Brosius, animator; Lester Chin, executive producer; Warner Bros. Pictures, client. “My designers were super stoked to work on the main-on-end title sequence for the Warcraft film. We pitched a lot of cool concepts and ended on the idea of the magic. Kyle Brosius, my art director, started developing particle simulations using After Effects, Cinema 4D and Krakatoa. Although it was a challenge to make the particles capture your attention for the length of the sequence, it was amazing once my stereoscopic specialist, Stevan del George, made the particles come off the screen. I was like, ‘Wow, that looks so real!’” Kyle Brosius, art director; Devin Ballard/Steve Gagne/Justin Harder/ Amanda Koh/James Lee/Kevin Lim/Ben Lopez/Matthew Redding/Byron Slaybaugh/Justin Timmons/Jeremy Wabiszczewicz/Alex Warner, designers; Stevan del George, 3-D designer; Jason Doherty, creative director; Lester Chin, executive producer; Legendary, client. 30

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Advertising Annual 2018

GREENHAUS GFX “They’re so creatively open,” Greene says of these movies. “They’re lower budget, and as an artist, that’s really fun. I like to be a little more free.” For horror comedy Happy Death Day, the studio came up with end title credits that show joyful death-day cards— like birthday cards—for every time the protagonist died. Director Christopher Landon says he adored the solution, and he’s looking forward to collaborating on the sequel. “It’s that juxtaposition of something sweet and cute and dark, and they blended it seamlessly,” Landon says. “Even if you make a bad movie, they’ll make a great credit sequence for it”—he pauses to laugh. “They’re super collaborative, and there’s nothing lost in translation. It’s just the best experience a filmmaker can have.” David Hall also recognizes the team’s craftsmanship. Hall collaborated with Greenhaus GFX as the post-production supervisor on Wonder Woman. He notes how Jenkins wanted

Left: “I just love that the film Happy Death Day is like Groundhog Day, but scary. The birthday-card concept for the main-on-end title sequence actually came from my super intern, Michelle Elie.” Amanda Koh, art director; Jesse Bafia/Michelle Elie/Sarah Federico/Jared Fujikuni, designers; Alex Warner, 3-D designer; Jason Doherty, creative director; Megan Hamilton/Greg Medina, producers; Blumhouse, client. “The writer, Leigh Whannell, asked us to pitch for the main-on-end titles for Insidious: The Last Key. We had worked with Leigh on Insidious: Chapter 3. It was his idea to pay homage to all the other films in the series. I had this vision like something from a Hitchcock film, where all the characters’ faces would move out into 3-D space as the camera passes.” Amanda Koh, art director; Jesse Bafia/Joseph Conover/Jared Fujikuni, designers; Devin Ballard, lead designer; Greg Medina, producer; Megan Hamilton, executive producer; Blumhouse, client. This page: “My art director, Devin Ballard, made slash marks with paint like he was wielding a sword. He made the font from scratch so it would feel organic with the show, Into the Badlands. His design was used in the show title and for the show’s advertising.” Devin Ballard, art director; Matt Redding/Justin Timmons/Tyler Tometich, designers; Jason Doherty, creative director; Lester Chin, executive producer; AMC, client. “Justin Timmons, my designer, created a handmade typeface for Guardians of the Galaxy, which became the main title in the film. It was developed further for Guardians of the Galaxy Vol. 2.” Amanda Koh, art director; Joseph Conover/Phillip Crable/Greg Medina/Efram Potelle/Matt Redding/ Tagori Vilela, designers; Stevan del George, 3-D designer; Jason Doherty, creative director; Megan Hamilton, producer; Marvel, client. “Matt Redding, my designer, built this logo in Maya and created various textures with different high-dynamic-range imaging ‘reflections.’ Our client, production company Studio 8, wanted to emphasize the lights and glints moving across the letters.” Amanda Koh, art director; Matt Redding, designer; Jason Doherty, creative director; Studio 8, client. “Steven Spielberg remastered his original Jurassic Park in stereoscopic 3-D. Our assignment was to take the original logo and make it move in a 3-D space. My lead designer, Jess Marley, built the dinosaur head with a rig, so in stereo, we could go through its mouth.” Derek Bronsteen/ Kyle Brosius/Nick Kinney/Michael Lanigan/Kyle Thorsen, designers; Jess Marley, lead designer; Jason Doherty, creative director; Lester Chin, producer; Universal Studios, client. Communication Arts | commarts.com

GREENHAUS GFX to make a classic Hollywood film, with the end titles adding the flashiest, most modern elements. Still, she wanted it to recap many of the film’s iconic scenes. Hall says he was struck by how well Greenhaus GFX listened. “Greenhaus brings the creative and the logistical,” Hall says. “They came up with amazing things quickly.” It’s no wonder Greene has learned to work efficiently. She continues to manage a household and a business. She hopes to be a role model for her own children, the way Lynda Carter was for her. “My kids constantly ask me why I go to work and their friends’ parents are home,” she says. “Early on, I decided to let go of the guilt. This is the choice I made. I didn’t pay for ArtCenter just to not pursue this. I hope my two girls will thank me someday. I know they don’t understand now because they want mom, but I hope they understand later.” In the meantime, Greene has ambitious plans for the future of Greenhaus GFX, including, hopefully, the sequel to Wonder Woman. Who knows? The studio might even fulfill an item on Greene’s bucket list. “My biggest goal in life is to not have to pitch,” she says, “but for a director to just ask for me.” ca

This page: “We went into the pitch on a main-on-end title sequence with director D. J. Caruso, but soon after, he decided that xXx: Return of Xander Cage needed a transition into his first satellite shot to give it a more comprehensive introduction. We ended up creating the main titles, locator cards, IDs and the main-on-ends, which required more than 20 designers to complete the work; we also finished the main titles in 3-D. The satellite debris required many hours of modeling.” Matt Gleason/Amanda Koh, art directors; June Ahn/Polina Alexeeva/Maria Anleu-Palencia/Jared Fujikuni/Efram Potelle/Matt Redding/Byron Slaybaugh/Joshua Studebaker/Luis Vega/Tagori Vilela, designers; Jason Doherty, creative director; Jeremy Wabiszczewicz, creative direction; Paul Holtzhausen, editor; Stevan del George, 3-D animator; Megan Hamilton/Greg Medina, producers; Paramount Pictures, client. Right: “For the main-on-end title sequence for Teenage Mutant Ninja Turtles: Out of the Shadows, we illustrated different ways that we could design the frames of the turtles, ending with a colorful comic book style. Rudi Liden, our amazing illustrator, developed the look and style of the drawings.” Devin Ballard/Kyle Brosius, art directors; David Acampora/Sara Federico/Mark Feldman/Steve Gagne/Matt Redding/Alex Silver/Justin Timmons/Tyler Tometich, designers; Jason Doherty, creative director; Rudi Liden/Marc Matters/Angelo Roncelli, illustration; Isa Alsup, 3-D animator; Cait Campbell/Megan Hamilton, producers; Paramount Pictures/Platinum Dunes, clients. “The main title sequence for the film Extraction is inspired by Saul Bass’s work. The concept is all about the chase, and creating elements for the viewer to follow.” Devin Ballard, art director; Steve Gagne/ Amanda Koh/James Lee/Josh Studebaker/Tyler Tometich/Rijing Yang, designers; Justin Timmons, lead designer; Jason Doherty, creative director; Lester Chin, executive producer; Emmett Furla Oasis Films/ Grindstone Entertainment Group, clients. 34

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CAITLIN DOVER BY BY CAITLIN DOVER

ast October, Daniel Zender did something you have probably never done: he went to Easter Island on a whim. In truth, the word whim doesn’t really capture the passionate curiosity that led to Zender’s adventure. The illustrator, 31, has an affinity for mysterious phenomena and traditional art that goes back to his childhood. “I was an X-Files kid,” he recalls. “I was into aliens and Area 51 and just weird stuff.” From early on, he was fascinated by Easter Island, “a place that took a long time to understand and still is not fully understood.” His interest had been dormant until he recently happened on a book about the Chilean island at a stoop sale near his Brooklyn home, and started wondering how he could actually get there.

“As it turns out, if you can stand 22 hours of flying, then you can just fly there,” he explains. He spent three full days on the island and visited nearly all of the towering statues. “I tried to draw every single thing I saw,” he says. When he returned, he gathered the results in a striking zine, Risograph printed in white, black and red. The sheer power of the statues’ faces comes through in Zender’s boldly rendered graphic images—as does the energy and joy of the journey. “It just seems silly to not do something like that [trip] because it’s harder or less common [to do],” he says. “I like those sorts of challenges. It was probably one of the best decisions I’ve made with my life.” Zender’s ability to take risks and pursue what moves him has led to many other good decisions in his life and work. Raised in small-town Missouri, he started pursuing a career as an illustrator around 2010 with little experience and few leads. Trained as a designer, he had quickly lost interest in the field when he discovered that his day-to-day work was unlikely

to be particularly experimental. He had a job in a coffee shop and was sending out promotional postcards without success, feeling “desperate to do this for my living.” Having saved his coffee shop earnings, Zender flew to New York, portfolio in hand, and “just bothered as many people as I could,” visiting the offices of everyone he hoped would hire him. “I showed up at the Penguin building, thinking, ‘Oh, they’ll just let me see someone.’” Sadly, he had chosen the wrong building “where none of the art directors work. I walked in and the people at the front desk had no idea what or who I was looking for.” He had better luck at the New York Times, however—art directors Aviva Michaelov and Nicholas Blechman agreed to meet with him—and a few months later, Alexandra Zsigmond gave him an assignment for the Opinion section—“my first big job.” In the following years, he moved to New York and enrolled at the School of Visual Arts, where he earned his MFA in illustration in 2014. Over the past few years, he has racked up big-name clients—the New Yorker, The Washington Post, Nike and, eventually, Penguin, to name just a few— and gained gold and silver medals from the Society of Illustrators, a Young Guns award from the Art Directors Club, and numerous winning submissions to the Communication Arts Illustration Annual. He also took a position at Queens College, where he still teaches introductory courses in design and illustration. Two years ago, with income from his newly flourishing career, Zender started renting a studio in a large building in the Bedford-Stuyvesant neighborhood in Brooklyn; his space is part of a warren of studios used mostly by fine artists. The studio enables him to physically separate his commis-

Right: “For an article on virtual reality (VR), by Joshua Rothman. The piece is not about traditional, commercial VR as we know it, but a new, experimental form that shows potential in mental health therapy. With reporting from the lab of researcher Mel Slater, the piece explores tech, ethics and the philosophy of VR, paying special attention to the work of Thomas Metzinger, a philosopher in consciousness studies.” Nico Schweizer, art director; The New Yorker, client. 36

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sioned and noncommissioned work—a separation that is key to his process. He creates all of his assigned illustrations using digital tools, but he doesn’t keep a computer in the studio, choosing instead to do his paid work in his apartment. “So much of illustration and commercial art is based around a schedule and sketching and process and concept,” he says, when I meet him at the Bed-Stuy building. “Here, it’s just making a mess, which is something I really miss about art school. You kind of lose that, and I think it’s really important to growing as an artist.” On entering his studio, I see that the “mess” he refers to includes a jumble of paint, brushes, twine, tape and stacked canvases that would warm any creative packrat’s heart. Acrylics depicting grinning heads with staring eyes, in a bold, limited palette dominated by black and red, line the walls. I notice a scattering of carved linoleum blocks on a table. He recently rediscovered his love of lino block printing during a trip to New Mexico, where he saw linocuts and woodcuts, and realized “I should be doing that.” Since then, he has been trying to make one block a day. The appeal of the blocks is twofold for Zender. On the one hand, as he explains, “I like figuring out new ways of making affordable art for people.” There is also a clear stylistic connection between the southwestern folk imagery he saw on his trip and his own aesthetic. In Zender’s work, bold, semiabstracted forms—often faces and figures—exist within the eerie atmosphere of a dark fairy tale. In approach and content, his pieces have more than a little Day of the Dead about them. “I really like the relationship between horrible

things and humor,” he says. He’s a dedicated horror movie fan, but doesn’t enjoy “gory slasher movies,” preferring “creepy things that make you uncomfortable. If something at first glance is humorous, but then you realize that there’s something sinister about it, that’s really interesting to me, aesthetically and emotionally.” Visual artists ranging from Caravaggio to Barbara Kruger are important to Zender, but the atmospherics and drama in his work are largely inspired by cinema; he points to the green-and-black visuals of The Exorcist and to Dario Argento’s “high-saturation” Suspiria as particular influences. “To me, that’s how everything should look,” he says. An assignment in 2014 for the New Yorker stands out for Zender as a moment when an art director truly appreciated this sensibility and gave him work because of it. Jordan Awan, then an art director at the magazine, hired him for a story about a Tanglewood production of the opera Lizzie Borden. Zender’s illustration is pleasingly symmetrical and almost decorative in its flat arrangement of shapes, with a circle of a moon hanging above the even waves of Borden’s hair. The humor and horror come in when you register her blank expression and the bloody axe clutched in her hands. Zender’s illustration perfectly encompasses the ghastliness of Borden’s murders and the inherent comedy of singing about them. The assignment was a turning point: Zender had been hired “to be weird and scary, but also funny, sort of, for the New Yorker, which is an awesome feeling.” When he started his career, he says, “I was copying the aesthetic choices of a lot of people,” using cut paper collaged in Photoshop to make what he calls “collage-y conceptual stuff.” Now, with the New Yorker illustration, he felt he had leeway to do less metaphorically based work, and make things that were more abstract. As he puts it, “No more ‘head with a ladder coming out of it.’ I was like, ‘I can kind of do whatever I want to in my career. I don’t have to follow someone else’s example.’” While he rarely keeps printed versions of his commercial work, Zender made a screen print of the Lizzie Borden illustration “to memorialize it.” He shows it to me in his Greenpoint, Brooklyn, home, which he shares with his girlfriend, a designer at Pentagram. The place is sunlit and friendly, with a forest of plants by the front windows. Zender has a green thumb that seems to run in the family—when he

Right: “A spread from my zine Drawings from Easter Island, which features drawings that I made on location during a trip to Easter Island. I self-published the 32-page zine—with a sixteen-page minizine stapled in the center—which was Risograph printed and limited to 200 copies.” “For an op-ed article by Frank Bruni about how New York City is becoming unbearable and unlivable. The article focused on the subway and the changing Metropolitan Transportation Authority, which is how I approached the artwork as well.” Alexandra Zsigmond, art director; The New York Times, client. “For an op-ed article about law enforcement manipulating and deleting body camera footage. The idea was to show not only the tension of a person being arrested, but also the physical manipulation of the footage.” Josh Cochran, art director; The New York Times, client. 38

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DANIEL ZENDER was growing up, his mother worked in a greenhouse. A room in the center of the railroad apartment acts as his work area. Shelves above his desk are crowded with books and objects that he has collected over the years, from rocks and little animal figures to vintage paper black cats for Halloween. Sitting at his dining table, he mentions an illustration published in the May/June 2018 issue of MIT Technology Review for an article predicting disastrous effects from making Bitcoin a dominant currency. Zender’s image floats a cage of uneasy, computer-derived green and white shapes in front of a pale, amorphous human figure. “They let me be weird enough with it that I felt like I still had my artistic voice in it. But that’s been happening a lot recently,” he says, sounding thrilled, if not a little surprised. Solidly established as an editorial illustrator, he aspires to illustrate movie posters and book covers. “My dream is to do some Stephen King covers,” he says. Meanwhile, last May, he presented a show of his linocuts at the Brooklyn comics shop Desert Island. “I just walked in one day and asked if I could do a show, and the guy said, ‘Sure.’” Zender made a poster to publicize the exhibit—a print of a single palm tree. The Desert Island event was one day only; Zender would soon be on to the next thing, connecting ideas, talking to people, taking leaps of faith. As a teacher, he says, he gives his students this advice: “Always be making stuff. You don’t have to show it to anybody, but just do it, and see where that leads to next.” ca

Left: “Part of a series of illustrations commissioned to accompany a complex story of murder and deception. A top executive at Doral Bank in Puerto Rico is found murdered. The investigation of his death reveals a complex crime ring, Santería rites and more lurid details.” Lee Wilson, art director; Bloomberg Businessweek, client. “For a BuzzFeed News article exposing sexual harassment and abuse at the New York City theater/improv performance Sleep No More. Because audience members are required to wear masks that hide their identity, acts of sexual abuse and harassment have been on the rise.” Ben King, art director; BuzzFeed, client. This page: “This was my first illustration for the New Yorker, which accompanied a summary of an opera about Lizzie Borden, the axe murderer. Jordan, the art director, wanted me to explore the humorous aspect of a musical about a murder, as well as the theater and drama of the performance.” Jordan Awan, art director; The New Yorker, client. “Shady money supporting political interest groups and candidates is being funneled in through ads on social media outlets such as Facebook. How do we fight back? This illustration was exciting because Tracie, the art director, allowed me to abstract the various concepts involved. Using colors and ghastly forms, I conveyed the basic concept without literal visual elements.” Tracie Louck, art director; The Stranger, client. Communication Arts | commarts.com

DANIEL ZENDER This page: “I love pasta. I thought about getting this as a tattoo, but I turned it into a promotional piece instead.” “For an op-ed piece about the growing speculation that North Korea has access to VX, a lethal nerve agent that can be used to cause terror in large populations.” Josh Cochran, art director; The New York Times, client. Right: “For a book review of a thriller titled Black Water, which regards a longtime, world-weary spy in Indonesia and the tolls of living a life in which all relationships are functional facades and home is permanently temporary. The author tries to tackle the question: Why would anyone choose that life?” Matt Dorfman, art director; The New York Times Book Review, client. “For a fun article about film editors who are no longer required to work on location. As technology improves, editors can work remotely on major films, enabling more freedom and expression. It is also a lot less stressful!” Allison Cressey, art director; Variety, client. “From a series of personal paintings based on demons and fear. Acrylic on canvas.”

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BY ELLEN SHAPIRO

hy &Larry? That is the question. How many design firm principals would put an ampersand before their name, instead of after?

Larry is different. He’s Larry Peh, principal of a six-person firm in Singapore that’s making international waves—whether he likes it or not.

As a designer, Larry is different because of the way he sees himself. “I’m an introvert,” he says. “I’ve been under the radar for many years. I love what we do. I love to design. But I don’t much fancy making speeches or going to parties. I attract similar people. We’re a bunch of introverts here.” As a firm, &Larry is different because its location isn’t in one of Singapore’s trendy, leafy districts with bars, boutiques and cupcake shops. It’s not in the CBD, the central business district with its name-architect-designed skyscrapers overlooking the glasshouse domes and high-tech supertrees of Gardens by the Bay. It’s tucked away in an office building in an industrial park off the expressway that takes you to Changi Airport. Peh founded the company in 2005 after dissolving a business partnership in Neighbor Studio, the creative agency he’d founded with a former Temasek Polytechnic classmate. “I finally realized what I was meant for,” he says, referring to the painful six-month postbreakup period during which he did more self-reflection than designing. “I realized that I didn’t like corporate work. That I didn’t want to change or challenge the world. That I didn’t care much about awards. So I started anew. At &Larry, we take a more humble approach. We don’t troll for clients. We don’t post on Behance. All our work comes through word of mouth. Besides, some

of our work is for clients like private residences that don’t want their stuff splashed all over the world so competitors can copy it,” he adds. All that humility and desire for privacy, however, hasn’t stopped Peh or his firm from winning prestigious accolades, including Singapore’s President’s Design Award—twice, in 2014 and 2016. The award, established in 2006 “to increase appreciation for design that makes a difference in people’s lives,” has been presented to the country’s leading architects, industrial designers and fashion designers. Peh is one of the few graphic designers to date. “Meeting the man who was president of our country—Dr. Tony Tan—was the greatest award of all,” he says. But the thing is, Larry is not just a graphic designer. He’s also a strategist and a photographer and an art and photography collector—and a fashionista. In fact, he cofounded and runs a menswear fashion brand, Faculty, that offers his own designs in denim, dress shirts, T-shirts and accessories. As befits a graphic designer, all the garments are black, white and gray (with a few touches of blue). A current Singapore guidebook quotes Larry like this: “My clothing is based on pieces I bought that I thought could be improved upon.” As just one example, the copy on faculty.com.sg points out that the White Club Oxford Shirt has “deeper patch pockets that can accommodate a pen and notebook, and black bands at the cuff openings to prevent the appearance of dirt and sweat stains.” The equally perfectionistic introverts Larry has chosen to work with, and who’ve chosen to work with him, are Kelvin Pang—a colleague and friend for 20 years—now project manager and lead writer; senior art director Adora Tan; senior

Captions supplied by &Larry. Larry Peh was the creative director on all projects shown. Right: “We collaborated with HASSELL Singapore to develop the spatial and brand experience of Google Singapore’s office. In the same vein as other Google offices worldwide, we incorporated tongue-in-cheek language and graphics wherever suitable to create a stimulating environment for creativity. While fun and exciting, the designs are sufficiently restrained for longevity and are also nonintrusive to employees, who will be seeing them on a daily basis.” Adora Tan, art director; HASSELL, lead designer; Google Singapore, client. 44

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&LARRY

designer Kenneth Zeng; designer Celestine Tan; and art director Stephanie Ng. All are Singaporeans of Chinese descent—as is more than 75 percent of the island’s population of just over five and a half million—who studied communication design, creative media design and business at the local schools LASALLE College of the Arts, Singapore Polytechnic and Temasek Polytechnic. My visit to the studio began with a tour of the firm’s portfolio by Adora Tan, who’s been with the firm for ten years as creative lead for key projects, heading up research, conceptualization and art direction. She showed me memorable ads and promotions for Bynd Artisan, a chain of local stores that specializes in fine leather and paper goods. Equally successful are the firm’s understatedly elegant branding projects for the offices of GIC, the investment organization that manages Singapore’s foreign currency reserves. I especially liked the cool VIP invite to a Maserati event in the shape of a license plate, actually embossed in metal. And then there were the seven love letters that make up the unusual DVD packaging for a film by seven directors who created cinematic love letters to Singapore. And the beautiful “memory box” housing the DVD for a documentary film honoring Singapore’s food heritage; inside are postcards of images of Singapore’s hawker centers—wildly popular eating places with food stalls that purvey every kind of local specialty.

“Our clients want something that hasn’t been done before,” Adora pointed out. Yes, the briefs for these projects surely included production budgets that didn’t limit the designers to standard formats. Inspired by research and a deep understanding of Singapore’s multicultural society, these designers specialize in visual and tactile delights like handmade collages, candy “stones” flavored like local favorites, and hand-bound books stitched with multicolored threads. “We craft real, hands-on stuff that’s developed through a lot of free play,” she added. The firm’s work is hardly limited to projects on paper or promotions that can be delivered by messenger. Many assignments include motion graphics, websites, social media planning and implementation, exhibitions, interior features, and store signage. And strategy and naming. Indeed, at their desks in the art-, photography-, bookand memorabilia-filled studio, Larry and Kelvin can often be found conferring, strategizing and wordsmithing proposals for clients, like the retailer Takashimaya. Other big-name international clients include banking group BNP Paribas, Google, Herman Miller, Louis Vuitton and furniture company Steelcase. Larry and Kelvin proudly demonstrated their branding work for Direct Funeral Services, a client some designers would turn down, or at least turn up their noses at. Their comments illustrate the &Larry philosophy and methodology: “The company provides a service that’s important to all four major religious groups in this country. We want to help them grow. If design can really help, we will help them,” Larry said. “We want to stay true to their founding philosophy but at the same time provide direction going forward.” “We ask a lot of questions. We are patient. We go deeper and develop the heart and soul of the brand,” Kelvin added. “In this case, the three dots of the brand symbol, which represent communication, compassion and continuity, have meaning to our older generation.” As I admired the solution—a bold yet dignified logo in English and Chinese—other compelling things were going on in the 1,700-square-foot space. Kenneth was perfecting a clever

This page: From left to right: Celestine Tan, designer; Adora Tan, art director; Kelvin Pang, project manager; Larry Peh, creative director; Stephanie Ng, senior designer; Kenneth Zeng, senior designer. Right: “An emotive anthology of seven cinematic ‘love letters’ to Singapore, 7 Letters is an omnibus featuring the nation’s most illustrious directors and their connections with the place they call home. Commissioned as the overall creative consultant for the film, &Larry developed the title with long-time collaborator Royston Tan. The film’s name was derived from the need to convey a sense that the resultant whole is greater than the sum of its parts—with each of the seven characters in letters representing each director and his or her thematic value. As each segment is a personal reflection of unique stories and connections to Singapore, we appropriated the form of an archival box and its cherished contents for the packaging design. The visual outcome is singular and purposeful—a miscellany of treasured memorabilia from the depths of a time capsule.” Lee Weicong, art director; Hong Teng Koh, illustrator; Clarence Wee, Craft Varies, calligraphy; Royston Tan, Chuan Pictures/SG50 Steering Committee, clients. “&Larry was approached by Louis Vuitton to create a lookbook to showcase the luxury brand’s exotic bag collections to VIP clients. From conceptualization through photo shoot and layout, the project was completed in record time with no compromise in either art direction or attention to details. Titled Exotique, the lookbook has since been produced and distributed around the world.” Kenneth Zeng, designer; Louis Vuitton, client. 46

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Communication Arts | commarts.com

Advertising Annual 2018

&LARRY paper clip logo for Unscripted, a group of interior architects. Celestine and Stephanie were prop styling and shooting still lifes of sweet buns and custard tarts for Tong Heng, a purveyor of Cantonese pastries for which they’d collaborated on the shop interior design and created packaging that combines traditional Chinese elements with contemporary touches. I had a few more questions for Larry. “So, why is your firm called &Larry?” I asked, finally. “Imagine a space, a line, before the ampersand” was his answer. “Anything can go in that space. The client name— and Larry. The product—and Larry. It’s all about seeing our clients as partners and collaborators.” Aha. “And what about the classic, understated typography you favor? One doesn’t see much Baskerville and Caslon in Singapore.” “I like things that are timeless and elegant but at the same time modern, like the work of Charles and Ray Eames. Serif typefaces are elegant, but the way I use them has a certain rebelliousness. As a student, I was drawn to Emil Ruder. I wished I could have gone to Switzerland. But,” he

Left: “An intriguing hybrid between the Western periodic table and traditional Chinese medicine cabinets, Science of Life is an interactive full-wall feature that plays on the classic notion of East meets West and the global Asia confluence that defines Singapore’s unique geographic location. On a deeper level, a series of flash cards housed within corresponding drawers highlights how advancements in science and technology have profoundly enhanced Singapore’s livability. Each card highlights a chemical element and communicates a carefully considered association to a successful partnership or case study belonging to an Economic Development Board partner company.” Lee Weicong, art director; Randy Yeo, designer; Hong Teng Koh, illustrator; Singapore Economic Development Board, client. “Old Friends is the final installment of Royston Tan’s trilogy of films documenting different aspects of Singapore’s heritage. Directed by Royston Tan, Alvin Lee, Boi Kwong and Debe Hoo, the film focuses on the strong connections between Singaporeans and their beloved local delights from homegrown hawker stalls and eateries. &Larry designed the DVD packaging around the main image of ang ku kueh, or red tortoise cake, a traditional Chinese confectionery that is popularly eaten during important festivals, such as Chinese New Year. Included inside are nine postcards showing various old-time hawkers, dishes and eateries featured in the film. When assembled, the cards make up the film’s title, overlaying the images in an auspicious shade of pink.” Adora Tan, designer; Bene Tan, Cause & Effect Studio, photographer; Objectifs, client. This page: “Sovereign wealth fund GIC was the brainchild of Singapore’s former deputy prime minister Dr. Goh Keng Swee. This installation showcases how he initiated radical action in the face of upheavals in global currency markets. Seeking to protect our reserves, Dr. Goh circumvented an embargo on purchasing gold bullion. The actual torn US dollar bill that was used to authenticate the clandestine deal is held above golden waves, testament to a legacy of foresight, dedication, ingenuity and enterprise.” Adora Tan, art director; GIC Private Limited, client. Communication Arts | commarts.com

&LARRY paused wistfully. “In any event, I want us graphic designers to look more like legal advisors, more professional, to get more respect.” “Amen. Switzerland? You could work anywhere, yet you’ve chosen to stay in Singapore, a country half the size of Los Angeles.” Kelvin answered that question: “We are all homegrown here. Singapore is driven by economic success. The country puts money into the DesignSingapore Council, into our two design museums. We get a lot of support.” Larry concluded: “I love being on my own turf. We can get anything and everything done here. And it’s a great base from which to do business anywhere in the world.” And then he was back to figuring out for another client how to combine traditional Chinese calligraphy and iconography with elements of Swiss poster design—in a completely new and unexpected way. ca

This page: “We were commissioned to create a branding experience for Bynd Artisan, a local company with a legacy of more than 60 years in the bookbinding trade. We developed its brand ethos of ‘Something’s Worth Sharing,’ marrying the brand’s ‘hardware’ (expertise of paper, leather and bookbinding techniques) with the ‘heart’ of its story (heritage built on honesty, authenticity and craftsmanship). These posters are from a one-off series of four oversized posters inspired by Bynd Artisan’s time-honored handcrafting techniques. The subjects revolve around the company’s history and story, the artisans themselves, and the ready-made products, as well as bespoke services available to customers. Created in collaboration with Bynd Artisan’s master craftsman, Mr. Chong Beng Cheng, each poster was meticulously crafted using a medley of traditional bookbinding supplies, and the workshop’s leftover leather patches and paper scraps.” Lee Weicong/Adora Tan, art directors; Kelvin Pang, writer; Lavender Chang, photographer; Bynd Artisan, client. Right: “In a largely conservative Singapore, societal progress treads a fine line by forbidding nudity and outright pornography but allowing the conditional sale of ‘adult-interest lifestyle magazines.’ While considered tame by more liberal societies, such approved publications must be tagged with a prominent label that reads, ‘Unsuitable for the Young.’ The warning aims to protect children and avoid offending conservative citizens. Inspired by this practice while questioning its efficacy, &Larry censored the work of photographer Ivanho Harlim with strategically overlaid warning labels, thereby rendering the end product ‘suitable for the young.’ Controversial words in the artist’s statements were also blanked out with correction tape. As a conceptual extension, each magazine was also packaged with a children’s sticker sheet, encouraging readers to self-censor their personal copies.” Lee Weicong, designer; Ivanho Harlim, photographer; Enlightenment, Here is ZINE Tokyo 11, client. “Located in the PasarBella marketplace at Suntec City, Grilllo serves up Asian-inspired comfort food with a global outlook and appeal. Developing the brand’s name and visual language was a straightforward affair—we were inspired by food skewers and the grill, which form the basis of Grilllo’s hearty fare. The bright yellow color is a response to the brand’s desire to serve fresh, quality food with a hint of playfulness; it conveys a sense of energy and vibrancy that is also approachable and appetizing.” Adora Tan, designer; Grilllo, client. 50

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

Nike Track + Field identity Each year, Nike sponsors a number of track and field invitationals around the United States and updates its Track + Field identity to keep it fresh. “The update for 2018 included a new graphic element we pulled from the track. Essentially a triangle, it was called the ‘acceleration graphic,’ says Michael C. Place, creative director of London, United Kingdom–based firm Build. “We had to build a system that worked with the existing elements of the identity we designed in 2016. But it also had to work hard on its own. Finding the right balance was one of the hardest parts of the project.” Rebecca Parker, Nike, art director; Nike Brand Team, design; Build (London, United Kingdom), design firm; Nike, client.

Consonant Skincare OOH ads Consonant Skincare makes premium products created with 100 percent natural and organic ingredients. To launch its flagship location in Toronto’s trendy West Queen West neighborhood, it sought to attract the attention of local shoppers by showing how its communications is as organic and natural as its skincare products. “We looked for inspiration not in the skincare category, but rather in Consonant’s new neighborhood by highlighting the beautiful imperfections and textures of the area itself,” says Toronto, Canada–based Zulu Alpha Kilo. “We also wanted to celebrate all the beautiful and diverse skin tones found in the neighborhood, so we crafted a color palette that reflected this.” Manali Kulkarni/Kevin Sato/Kyle Winsor, art directors; Ian Dunlop/Monika Leck/Dylan Verwey, writers; Jack Curtis, designer; Ryan Booth, design director; Gary Watson, creative director; Zak Mroueh, chief creative officer; Shereen Mroueh, photographer; Greg Heptinstall/Ashleigh O’Brien, studio artists; Kelly MacDonald/Rock-it Promotions/Myriam Tardif, senior media producers; Steve Cowan, production manager; Teresa Bayley, agency producer; Nadine Arsenault/ Skye Gandy/Lisa Sousa, project managers; SEAMLISS Graphics & Marketing, production company; Zulu Alpha Kilo (Toronto, Canada), ad agency; William Baker/Kristina Breckon/Jynessa Marczuk, Consonant Skincare, clients. We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

Communication Arts | commarts.com

EXHIBIT 1

Keeneland spot “The Unseen Side of Horse Racing” 1:30 Located in Lexington, Kentucky, the horse capital of the world, Keeneland is an internationally renowned racecourse and Thoroughbred auction house. This spot is an anthem to the hard work of the people who make it possible. “Much of the Thoroughbred industry advertising focuses on the glory and glamour—perfectly manicured pastures, gleaming horses and big wins. Our strategy was to show that Keeneland understands the hard work behind those end results,” say Christa Marrillia, Keeneland’s chief marketing officer, and Leslie Miller, senior account planner at advertising agency Cornett. “Having industry icon and former Keeneland president Ted Bassett voice the spot adds another level of meaning and authenticity that no one else could have provided.” Kathy Martinolich/Jonathon Spalding, writers; Chris Barnes, associate creative director; David Coomer, chief creative officer; Jessica Goodin, graphic designer; David Coyle/Mathea Kelley/Barbara Livingston/Enzina Mastrippolito/Susie Raisher/David Stephenson/Richie Wireman, photographers; John Buckman, editor; Ted Bassett, voice talent; AJ Hochhalter, music composer; Neil Kesterson, Dynamix Productions, sound engineer; Rachel Black/Leslie Miller, strategic planners; Cornett (Lexington, KY), ad agency; Dara Allen/Christa Marrillia, Keeneland, clients.

Maison De Greef identity For more than a century and a half, Brussels luxury jewelry and watch house Maison De Greef has operated as a merchant, focusing on its retail presence and high-quality interpersonal relationships. However, the age of e-commerce and global customers required Maison De Greef to reframe its brand vision to be more holistic. “The main objectives were to create a conceptual and graphic solution that would be timeless and contemporary, and deliver a more coherent perception of the brand’s legacy of innovation and craftsmanship,” says Thierry Brunfaut, creative director and partner of Base Design in Brussels, Belguim. “The solution was simple: wrap the boxes, cases and bags with the new logo in different sizes. The result is iconic, and there’s a beautiful abstract quality in the finished package.” Léa Wolf, art director; Erwin De Muer/Delphine Volkaert/Léa Wolf, designers; Sander Vermeulen, design director; Thierry Brunfaut/Thomas Leon, creative directors; Maxime Palau/Steve Piron/Lou Verdun, developers; Pierre Stoffe, production manager; Fumi Congan, production director; Morgane Van Oncem/ Fabian Jean Villanueva, project managers; Base Design (Brussels, Belgium), design firm; Arnaud Wittmann/Brice Wittmann/Jacques Wittmann, Maison De Greef, clients.

Reportér print ad Reportér is a Czech magazine that focuses on current issues in politics and society. This print ad is from a series that Y&R Prague produced to demonstrate that Reportér’s role is to put important issues into perspective and help its readers use critical thinking. “We wanted to achieve a very particular look that delicately balances illustration and photography,” the agency says. “We knew that executing this campaign would be a big challenge requiring precise preparation, great control at the shoot and lots of care in retouching. It took us a couple of months to bring these visuals to life, and once again, we learned that without our amazing photo producer Tomas Tomasek, we would be lost.” Jan Siller, art director; Karla Calheiros, writer; Marco Antonio do Nascimento/ Atila Martins, creative directors; Tereza Svěráková, chief creative officer; Pavel Hejný, photographer; Petra Vokjan, retoucher; Tomas Tomasek, agency producer; Y&R Prague (Prague, Czech Republic), ad agency; Reportér, client

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

EXHIBIT

Soo Zee 23 identity Restaurant Soo Zee 23 wanted to bring a traditional Taiwanese beef noodle soup concept to Australia and introduce Aussies to recipes and cooking methods that have been handed down through three generations, since 1948. The brand needed to be grounded in tradition but presented through a modern lens. “Finding a way to articulate the complexity of the broth was a challenge, but something we felt was integral to creating a unique and authentic brand,” says Emma Lucia, designer at Sydney-based The Creative Method. “We ended up with a solution where both the name and the imagery have layers of meaning. The use of language in the name is designed to appeal to both Asian and Western customers. Soo Zee, pronounced as ‘Suzie,’ means ‘number,’ and the Chinese symbols for the words eat and 23 are also featured. Looking back to 1948 Taiwan– and Asian–inspired graphics led us to use vintage woodcut imagery for the identity.” Emma Lucia, designer; Tony Ibbotson, creative director; Nicole Rippey, project manager; The Creative Method (Sydney, Australia), design firm; Soo Zee 23, client.

Airbnb GIFs Illo, a Turin, Italy–based motion design studio, was commissioned to create a set of GIFs that visualize some interesting facts about Airbnb cycling Experiences. The GIFs were used in an Airbnb press article published during the Tour de France to inspire guests to discover more about places to visit. “The timeline was pretty tight—ten days,” says Ilenia Notarangelo, Illo’s cofounder and creative director. “Luckily, the concepts we sketched were approved pretty fast, so we had enough time to focus on the execution of the project. Together with Cristina Pasquale, an illustrator at Illo, we created a main biker character and differentiated it through quirky hairstyles and colorful outfits, representing the different and international participants of Airbnb cycling Experiences. I’m also proud of the GIF we internally called ‘Teleportation,’ which showcases the three more popular cycling Experiences from around the world.” Ilenia Notarangelo, creative director; Cristina Pasquale, illustrator; Dave Cubitt/ Laurentiu Lunic, animators; Illo (Turin, Italy), design firm; Christina Chern, Airbnb, client.

2018 AICP Next Awards title sequence To celebrate the 2018 Association of Independent Commercial Producers (AICP) Next Awards, AICP joined forces with creative technology and visual effects studio The Mill to break the boundaries of traditional title sequence design. “Our solution was to develop a custom piece of real-time software that generates unique compositions and animation sequences each time it’s played,” says William Arnold, art director at the Mill’s New York office. “We created a generative system based on foundational design principles, grid-based proportions and minimalist color palettes. Within these guidelines, we purposely introduced a series of random parameters. The resulting effect was a combination of order and chaos, generating results that felt familiar yet surprising. We tried to strike a balance between consistent guidelines and true randomness. At times, it was tempting to create additional constraints to ensure greater consistency, but a big part of this project was about letting go and embracing the unexpected results.” Éric Renaud-Houde, lead developer; William Arnold, director; Antfood, audio mixer; The Mill (New York, NY), visual effects company; Association of Independent Commercial Producers, client. Communication Arts | commarts.com

EXHIBIT 1

Sipsong Spirits packaging Sipsong Spirits founder Tara Jasper, a first-time distiller, wanted to create a brand and label design that not only stands out as a unique project, but also showcases her personality. Her first gin blend, Indira, is created with warm East Indian botanicals, with spiced orange as the primary color. Jasper also forages for some of her botanical ingredients. “We looked at a lot of floral and herb illustration styles for this project,” says Dava Guthmiller, founder and chief creative officer at San Francisco–based Noise 13. “Our early sketches included many smaller botanical illustrations and graphic pieces that alluded to the collection of flavors. Our final design narrowed in on one main floral as its feature, supported by a few line illustrations to convey both the botanical nature of the product and the precision of the blending. Since this project had a low budget, the client researched existing bottle structures. Our original design was for another bottle shape and size. When the first option was not available, we had to adjust last minute for the change.” Mimi Chau, designer; Dava Guthmiller, creative director; Jessica Martin, illustrator; Noise 13 (San Francisco, CA), design firm; Tara Jasper, Sipsong Spirits, client.

adidas UltraBOOST Parley print ad One from a series of ads that aims to promote adidas UltraBOOST Parley shoes and raise awareness of marine plastic pollution by getting people to join a global movement to run for the oceans. The Primeknit upper portion of each pair of UltraBOOST Parley shoes is made out of plastic waste collected from beaches, preventing approximately eleven plastic bottles from entering the oceans. “We wanted to leverage the adidas runners’ communities and work with them to invite people to join the movement,” say creative director Thomas Jullien, senior copywriter Andrew Maaldrink, senior art director Benjamin de Villiers and business director Tomas Pruijs from TBWA\NEBOKO in Amsterdam, The Netherlands. “As part of the brief, we had to visually incorporate the eleven bottles into the creative execution. This became a bit of a challenge as we needed to ensure the message would come across clearly to our audience. In the end, this made the execution and the overall story stronger. Everyone who touched the project, from account to production, is a lot more conscious about virgin plastic. Now, we all use refillable drinking bottles and shop differently, and we’re spreading the message to friends and clients alike.” Valentino Marazziti/Marc Van Der Meer, associate art directors; Benjamin de Villiers, senior art director; Andrew Maaldrink, senior writer; Niya Andreeva/Desmont De Kousemaeker/Alphonso de Wilde, designers; Thomas Jullien, creative director; Darre van Dijk, chief creative officer; Blue Ter Burg, producer; Rosemarie Praaning, executive producer; Golden Wolf/ Psyop, production companies; TBWA\NEBOKO (Amsterdam, The Netherlands), ad agency; adidas, client.

Advertising Annual 2018

“

The amount of foreign entries is exciting and also a sign of the times in terms of the value that award contests provide.” —Libby Brockhoff

“

ADVERTISING 2018 ANNUAL

There was a lot of interesting work coming from all parts of the world. Beautifully crafted ads with impeccable typography and design.” —Daniela Vojta

Advertising Annual 2018

CONSUMER PRINT ADS 1 (series) Maxime Merchez, art director Laura Black/Vanessa Harbec/Maxime Richer, writers Carle Coppens, executive creative director Alain Desjean, Rodeo Production, photographer Ogilvy Montréal (Montréal, Canada), ad agency LEGO, client

2 Jeff Ross, art director/photographer Elliot Nordstrom, writer James Mikus, chief creative officer Sam O’Brien, designer McGarrah Jessee (Austin, TX), ad agency W.R. Case & Sons Cutlery Company, client

3 Jean Lafrenière, art director Luc Du Sault, writer/creative director Shed, illustrator David Boivin/Sylvain Grégoire/Marc Rivest, graphic artists Félix Blanchet-Levesque/Marie-Christine Huppé, project managers Christine Larouche, project director David Audet-Simard/Marianne Courchesne/Maeva Tapea, Touché!, planners Catherine Darius/Christine Larouche, strategic planners Janie Delorme, agency producer lg2 (Québec, Canada), ad agency Les Producteurs de lait du Québec, client

Communication Arts | commarts.com

CONSUMER PRINT ADS 1 (series) Meg Gallimore, art director Erin Arbaugh, writer Marie Rockett/Pete Valle, creative directors Jennifer Putnam, chief creative officer Dave Boyd/Marie Rockett, designers Williams & Partners, Inc., retoucher Jeff Tully, print producer Allen & Gerritsen (Boston, MA), agency Museum of Science, Boston, client

2 Cabell Harris, creative director Adam Ewing, photographer WORK Labs (Richmond, VA), ad agency Cobra USA, client

3 Greg Bokor/Paul Lambert, art directors Greg Bokor/Schuyler Vanden Bergh, writers Schuyler Vanden Bergh, creative director Greg Bokor, executive creative director John Vitro, chief creative officer Per Boge, photographer Hugo Cantelli, retoucher VITRO (San Diego, CA), ad agency CHOC Children’s, client

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

CONSUMER PRINT ADS 1 (series) Coleman Davis/Sally Franckowiak, art directors Jacob Pankey, writer Kellyn Blount/Greg Hunter, creative directors Rob Baird, chief creative officer Anna McCaleb, designer Kate Jackling, photographer Stephanie Smith, project director Jill Silberstein, producer Stacey Higgins, executive producer Krystle Loyland, chief executive officer Preacher (Austin, TX), ad agency Phyllis Aragaki/Suzy Cirulis/Lisa Foley/Karen Gaebe/John Johanson, Crate and Barrel, clients

2 Hide Konishi, art director Anthony Cardenas, writer Chuck Blackwell/Ken Pappanduros, creative directors Jason Sperling, executive creative director Joe Baratelli, chief creative officer RPA (Santa Monica, CA), ad agency American Honda Motor Co., Inc., client

Communication Arts | commarts.com

Advertising Annual 2018

CONSUMER PRINT ADS 1 (series) Khaled Ibrahim, art director Athina Afton Lalljee, writer Vidya Manmohan, executive creative director Ali Shabaz, chief creative officer Rolando Ruiz, illustrator Nadim Basna, strategic planner Sujith Krishnan, print producer Grey (Dubai, United Arab Emirates), ad agency Urszula Bieganska, LEGO, client

2 (series) Evan Kane, writer Jarrod Banadyga/Colin Hart, creative directors Cian Hogan, illustrator The Public House (Dublin, Ireland), ad agency Camera Repair Centre, client

Communication Arts | commarts.com

Advertising Annual 2018

CONSUMER PRINT ADS 1 (series) Alice Crippa/Miguel Mayen, associate creative directors Max Geraldo, creative director Luciano Calio, FCB&FiRe, executive creative director Liz Taylor, chief creative officer Jackson Bernard, designer Greg Olsen, Lord + Thomas, retoucher Julie Regimand, Lord + Thomas, print producer John Bleeden, executive agency producer Luciano Landajo, FCB&FiRe, chief executive officer Lord + Thomas, production company FCB Chicago (Chicago, IL)/FCB&FiRe, ad agencies Jeep, client

2 (series) Ande Eich, art director Zola Owsley/Donald Trump, writers Alex Rice/Jonathan Schoenberg/Jeremy Seibold, creative directors TDA_Boulder (Boulder, CO), ad agency Hapa Sushi, client

Communication Arts | commarts.com

POSTERS 1 Ryan Anderson, art director/creative director Gary Sume, writer Fluid (Bountiful, UT), ad agency GPP Fitness, client Printed on 24-gauge galvanized sheet metal.

2 Andrew Bernardi, art director/designer Lee Cristiano, senior writer Guy Moore/Ed Morris/Tricia Piasecki/Tina Vahn, creative directors Simon Clancy, group creative director Peter Ignazi/Carlos Moreno, chief creative officers Fabien Fulchiron, Tonic DNA, animation Trevor Gauthier, retoucher Graham Washer, production designer Scott McKay, strategist Colleen Floyd, agency producer Raquel Mullen, print producer Cossette (Toronto, Canada), ad agency McDonald’s Restaurants of Canada Ltd., client

3 (series) Dosh Osholowu, art director Jordon Lawson, writer Ian Grais/Chris Staples/Morgan Tierney, creative directors Jonathon Cesar, typographer Kerry Bhangu, print producer Rethink (Toronto, Canada), ad agency Playland, client “Playland amusement park always had the same media plan, including a large buy of interior transit cards. We decided to reinvent this traditional medium to bring some fun to buses on routes near the park. How? We created motionactivated ad units that tossed people, internal organs and googly eyes around with the violent motion of the bus—just like if you were on a ride at Playland!”

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

POSTERS 1 (series) Martin Dupuis, art director Charles Gagnon, creative director Hsiao-Ron Cheng, illustrator Les Évadés (Montréal, Canada), ad agency Cinéma du Parc, client

2 (series) Nancy Hannon/Jin Yoo, art directors Gloria Dusenberry, writer Joe Sciarrotta, creative director Ogilvy (Chicago, IL), ad agency S. C. Johnson & Son, Shout, client

Communication Arts | commarts.com

POSTERS 1 (series) Saji Johnny Kundukulam, art director/writer/creative director The Narrow Street (Delhi, India), ad agency KOOK Toothpicks, client

2 (series) Frédéric Nogier, art director Felix Freese, writer Bruce Roberts/Chris Rowson/Manuel Wenzel, creative directors Chris Beresford-Hill/Chris Garbutt, chief creative officers Alex Trochut, illustrator TBWA (New York, NY/Zürich, Switzerland), ad agencies McDonald’s Switzerland, client

Advertising Annual 2018

Communication Arts | commarts.com

POSTERS 1 Dosh Osholowu, art director Jordon Lawson, writer Ian Grais/Chris Staples/Morgan Tierney, creative directors Jonathon Cesar, typographer Scott Park, illustrator Kerry Bhangu, print producer Rethink (Toronto, Canada), ad agency Playland, client

2 (series) Nellie Kim, art director Chris Hirsch, writer Élise Cropsal, creative director Chris Hirsch/Nellie Kim, executive creative directors Sophie Valentine, graphic designer lg2 (Toronto, Canada), ad agency Atkin Guitars, client

Advertising Annual 2018

Communication Arts | commarts.com

POSTERS 1 Rica Eckersley/Adam Thur, creative directors Gordon Poon, director of photography Jordan Shaw, technology director Andrew Exworth, colorist Lauren Horn, editor Berkeley Inc., music company Jared Kuemper, sound design Kelly Mark, agency producer Lance Martin, chief executive officer Stories Worth Sharing, production company School Editing, post-production company UNION (Toronto, Canada), ad agency Canadian Real Estate Association, client “Didn’t use a realtor and ended up in a noisy neighborhood? Then you’re going to need the world’s first noise-cancelling poster, featuring a built-in, omnidirectional speaker and specially formulated white noise.”

2 (series) Spencer Dingle/David Théroux, art directors Philippe Brassard/Jordan Hamer, writers Craig McIntosh/Guy Moore/Jaimes Zentil, creative directors Peter Ignazi/Carlos Moreno, chief creative officers Oleg Portnoy/Corey Way, designers Trevor Gauthier, retoucher Graham Washer, production designer Raquel Mullen, print producer Novus, production company Cossette (Toronto, Canada), ad agency McDonald’s Restaurants of Canada Ltd., client

Advertising Annual 2018

Communication Arts | commarts.com

POSTERS 1 AN kiyoung (Higashiosaka, Japan), art director Graphic Art Laboratory, ad agency Kindai University, client

2 (series) Bryan Howarth, art director Chris Booth/Joel Pylypiw, associate creative directors Todd Mackie/Denise Rossetto, chief creative officers Steve Krug, photographer Kevin Luc, retoucher Jennifer Wong, print producer SGL Studio, production company BBDO Toronto (Toronto, Canada), ad agency Take Note, client

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

POSTERS 1 Luzalma Gonzalez, art director Johann Lopez-Otero, writer David Alvarez Rizo/Juan Camilo Valdivieso, creative directors Alvar Suñol, chief creative officer Mauricio Candela, photographer Tamara Sotelo, strategic planner Mimi Cossio, producer Michelle Headley, senior producer Luis Miguel Messianu, chief executive officer Alma (Miami, FL), ad agency Miami-Dade Animal Services, client

2 (series) Frédéric Nogier, art director Felix Freese, writer Chris Garbutt/Bruce Roberts/Chris Rowson/Manuel Wenzel, creative directors Chris Beresford-Hill, chief creative officer Alex Trochut, illustrator TBWA (New York, NY/Zürich, Switzerland), ad agencies McDonald’s Switzerland, client

Communication Arts | commarts.com

POSTERS 1 Dabin Yao, creative director Liuyi Pan, designer Ming Mao, photographer Ningbo Zhenhai Yanwuyan Vision Design Co., Ltd., ad agency Innostone Studio (Ningbo, China), design firm Tingyin Record, client

2 (series) Marc Guilbault/Patrick Rochon, art directors Guillaume Bergeron/Luc Dupéré, writers François Sauvé, creative director Jean Landry/Patrick Seymour, illustrators Manon Rémillard, graphic artist Maurice Gervais, photo editor Julia Lemyre-Cossette, project manager Marie-Christine Cayer/Karine Payette, project directors Stéfanie Forcier, planner Louis Dorval/Nathalie Dupont, print producers lg2 (Montréal, Canada), ad agency Sara Bujold/Julie Gélinas, Les Producteurs de lait du Québec, clients

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

POSTERS 1 (series) Martin Dupuis, art director Charles Gagnon, creative director Sandro Rybak, illustrator Les Évadés (Montréal, Canada), ad agency Cinéma du Parc, client

Communication Arts | commarts.com

POSTERS 1 (series) Andrew Hunter/Doug Murray, creative directors Frank Cartagena/Sam Shepherd, executive creative directors Menno Kluin, chief creative officer Bruce Gilden/Jack Robinson/Michael P. Smith, The Historic New Orleans Collection/Trombone Shorty Foundation/Eric Waters, photographers Jean Wolff, art producer Colin Pearsall, integrated production director Sabreen Jafry, project manager John Kinsella, production manager James Lavery/Chris Martin, print producers 360i (New York, NY), ad agency Jeremy Cooker/Mark Romig, New Orleans Tourism Marketing Corporation, clients

Advertising Annual 2018

Communication Arts | commarts.com

Advertising Annual 2018

POSTERS 1 (series) Gianmaria Schönlieb, art director Neil Ramanan, writer Jed Grossman, creative director John Olson/Wen Wang, designers Julia Shapiro/Kelly Wright, strategists Ryan Leong, producer Jacky Tran, executive producer B-Reel (Brooklyn, NY), ad agency Riley Rose, client

2 (series) Brad Monk, writer/creative director Jeff Millar, associate creative director Ryan Gardiner, graphic designer Dave Rodgers, design director Bill Murphy, photographer Central Station (Toronto, Canada), ad agency Ducati Owners Club of Canada, client

Communication Arts | commarts.com

POSTERS 1 (series) Saji Johnny Kundukulam, art director/creative director/typographer B Das Gupta/Saji Johnny Kundukulam, writers Senthil Kumar, chief creative officer JWT India (Delhi, India), ad agency Godrej Security Solutions, client

2 Camille Gagnon, art director/writer Luc Du Sault, creative director Sylvain Grégoire/Marie-Ève Roussy, graphic artists François Couderc/Jérémie Pelletier/Mathieu Tremblay, Cortex, creative technologists Quatro Design, engineer David Poulin, Nova Film, director Tania Pons-Kilfoil, project manager Astral Affichage, consultant Julie Pichette, agency producer Nova Film, production company lg2 (Québec, Canada), ad agency Festival de magie de Québec, client The transit poster prompts pedestrians to mentally pick a playing card out of a group of eighteen. Using eye-tracking technology, the billboard is seemingly able to read the participants’ minds based on where their pupils linger the longest.

Advertising Annual 2018

Communication Arts | commarts.com

DIGITAL ADVERTISING 1 Mark Peters, TBWA\Chiat\Day, creative director Renato Fernandez, TBWA\Chiat\Day, chief creative officer Dustin Callif/Nancy Hacohen, Tool, managing directors, creative Jaci Judelson, Tool, director Danny Hiele, Tool, director of photography Carbon, visual effects artist Pivot Audio, music/sound design Lime Studios, audio mixer Brad English, Tool, producer Brad Johns, Tool, executive producer Tool (Santa Monica, CA), production company Whitehouse Post, editorial company OMD/Resolution Media, media agency TBWA\Chiat\Day, ad agency Gatorade, client “Sisters in Sweat” 1:45 “Girls drop out of sports at 1.5 times the rate of boys by age fourteen. To shed light on the problem and show girls that staying in sports throughout their teenage years has long-term, personal benefits that go far beyond the game, Gatorade launched Sisters in Sweat. In the campaign film, Serena Williams’s advice to her newborn daughter becomes a message for all girls: ‘keep playing.’”

2 Brad Harrison, art director Dean Buckhorn, writer Randy Hughes, executive creative director Marty Senn, chief creative officer Carmichael Lynch (Minneapolis, MN), ad agency Subaru of America, client “During the launch of the adventurous new Subaru Crosstrek, we partnered with Amazon to stealthily infiltrate its ‘You May Also Like’ suggestions. How? Amazon shoppers searching for any adventurous product were immediately served what appeared to be actual ‘similar purchase’ suggestions—each pairing the Crosstrek with other Amazon extreme adventure products. Bear repellent. Spear guns. You name it. We even made Crosstreks available on Amazon.”

3 Franki Geib/Bruno Mazzotti/Luis Sierra, art directors Kate Cullen/Dean Paradise, writers Bruno Mazzotti/Dean Paradise/Martin Serra, creative directors Lisa Bright, executive creative director Fred Levron, FCB Global, worldwide executive creative director Liz Taylor, chief creative officer Michael McAfee, Lord + Thomas, motion graphics Ben Flaherty, Lord + Thomas, director Matt Andersen/Bryce Drobny, Lord + Thomas, directors of photography Steve Immer, Lord + Thomas, editor Alec Chojnacki, Lord + Thomas, audio engineer Mary Jo Corby, strategic planner Noiemi Lobont, Lord + Thomas, line producer Celena Mossell/Katie Roach, Lord + Thomas/Joe Tipre, executive producers John Bleeden, executive agency producer Lord + Thomas, production company FCB Chicago (Chicago, IL)/FCB Global, ad agencies Glad, client “The Toughest Bag” :90 “To demonstrate the new Glad ForceFlex Plus Advanced Protection kitchen bag’s superior strength in an iconic and memorable way, we created a product demo designed to put it through the toughest test: America’s worst airports. From there, we sent the bag to several other cities around the country, showcasing that if Glad ForceFlex Plus Advanced Protection can handle that, it can handle your everyday kitchen trash.”

Advertising Annual 2018

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Advertising Annual 2018

DIGITAL ADVERTISING 1 John Claxton, writer/creative director Liz Taylor, chief creative officer Brian Steckel, Lord + Thomas, motion graphic designer/director Michael McAfee, Lord + Thomas, director of photography Jason Ryan, Lord + Thomas, audio mixer Stump Mahoney, music producer Dan Delaney, Lord + Thomas, executive producer John Bleeden, executive agency producer Lord + Thomas, production company FCB Chicago (Chicago, IL), ad agency Clark Street Bridge, client “Milky Way” 1:50 “This film was used to kindle interest in a writing program called Clark Street Bridge. Demonstrating a simple truth about writing in a compelling way—and having the demonstration itself be well written—showed proof of concept. In other words: the school works.”

2 London Choi, writer Derek Blais, associate creative director Todd Mackie/Denise Rossetto, chief creative officers Jason Rooney, graphic artist Tom Burton/Robert Quan, production managers Matt Eves, production supervisor Tom Kenny, planner SGL Studio, production company MediaCom, media agency BBDO Toronto (Toronto, Canada), ad agency Diana Frost/Michelle Lefler/Kurtis Wong, Mars Wrigley Confectionery, clients “The Raptors were having their best season ever, but there was something odd going on in Toronto. As their success grew, so did the haters. The only explanation? Hunger. So, we took our iconic ‘Hunger’ bars and turned them into ‘Hater’ bars. Our goal was to feed the haters by making them eat their words—literally. Using Twitter, we turned real-time hate into real-life hater bars and shipped them out to all the haters!”

3 Amara Abbas, Apple, The Orchard/Ruth Bellotti/Kayla Robinson, Apple, The Orchard, art directors Nathaniel Lawlor/Lawrence Wilson, Apple, The Orchard, writers Dafna Garber/David Zorn, creative directors Chuck Monn, group creative director Brent Anderson, chief creative officer Lime Studios, sound design Chris Perry, executive producer Brian O’Rourke, executive director of production MJZ, production company Whitehouse Post, editorial company The Mill, visual effects company TBWA\Media Arts Lab (Los Angeles, CA), ad agency Apple Inc., client “Appocalypse” 2:45 “‘Appocalypse’ was made to kick off the Apple Worldwide Developers Conference, a week-long conference for Apple app developers and coders. This high-stakes comedic apocalypse film was actually a love letter to developers, showing them the importance of all the apps they make by imagining the chaos that ensues when the world suddenly loses all its apps.”

Communication Arts | commarts.com

Advertising Annual 2018

DIGITAL ADVERTISING 1 Aisha Hakim, art director Jake Reilly, writer Craig DeLeon/Matt Keats/Matt Miller/Justin Moore, creative directors Will McGinness, executive creative director Avelino Rodríguez, managing director, creative Elliott Brennan/Matthew Dobrez/Sam Evenson/Krysten Richardson, Flame artists Martin de Thurah, director Kasper Tuxen, director of photography Shaun Comly/Danny Garcia/Sophie Prince/James Robinson/Rasha Shalaby, visual effects artists Sofie Borup, colorist Stewart Reeves, editor Josh Sasson, assistant editor Christopher Kemp, music composer Chris Pinkston, sound designer/audio mixer 740 Sound, sound design Jalisa House/Jasmine Singh, production coordinators Fuad Abed Daltón/Alexandra Lubrano/Jeff Martin/Brian Scharwath/Emily Skinner/Emily Tarran, producers Matt Flaker/Dan Love, senior producers Marlo Baird/Melissa Culligan/Enca Kaul/Jonathan Sanford, executive producers John Shirley, post-production supervisor Ixhel Pérez, executive director of production Epoch Films, production company Work Editorial, editorial company The Lift, production service company Human, music company The Mill, visual effects company Company 3, post-production company Venables Bell & Partners (San Francisco, CA), ad agency Audi of America, client “Final Breath” 1:20 “Surrounded by loving family members, modern luxuries and trophies from his experiences, our protagonist admits being ready to let go of life. Just as he takes his final breath, he realizes that there’s one thing he never got to experience—the thrill of an Audi RS 5.”

2 Buck (Los Angeles, CA), production company Tinder, client “Invention of Together” :75 “In this epic history of man and womankind’s eternal struggle to couple… and do other things, the good folks at Tinder let us get our art on to create a luscious world where people have wonderbutts… and the same face.”

3 Scott Murray, writer/group creative director Arnie DiGeorge, executive creative director Erin Nordstrom, editor Spot Welders, editorial company Sasha Levinson, director Gerri Angelo, executive agency producer R&R Partners (Las Vegas, NV), ad agency Visit Las Vegas, client “Las Vegas Films: Now & Then” 3:20 “One of four short films produced to illustrate that the idea of adult freedom in Las Vegas deserves to be seen as one that includes diversity, inclusion and empowerment for all.”

Communication Arts | commarts.com

DIGITAL ADVERTISING 1 Pamela Rounis, art director Jordon Lawson/Max May, writers Mike Dubrick/Ian Grais/Chris Staples/Aaron Starkman, creative directors Rose Koo/Aliz Tennant/Darren Yada/Gordon Zhang, strategists Megan O’Connor, producer Rethink (Toronto, Canada), ad agency YWCA, client “To warn young viewers about the content they’re about to watch, the YWCA hijacked YouTube’s advanced ad targeting to run unskippable six-second warnings in front of specific music videos that objectify women and men.”

2 (series) Angela Neri/Brian Watanabe, writers Steve Tom, associate creative director Vince Soliven, creative director Bradley Tangonan, director Jeremy Snell, director of photography Mel Matsuoka, colorist Deb Miller/Nick Stone/Bradley Tangonan, editors Karen Brizendine, assistant editor Jordain Wallace, sound designer Audio Bytes Corporation, sound design Debbie Tada, project director Darrin Kaneshiro, producer Olivia Hampson, associate broadcast producer Jenni Katinszky, executive broadcast producer Analisa Cortes, project manager Shooters Film Production, production company Montaj 9, editorial company MVNP (Honolulu, HI), ad agency Gina Chun/Kara Imai/Susie Kim/Jay Talwar, Hawaii Tourism United States, clients “Surfing Like Ancients” 2:25, “Building a Hula Legacy” 2:25, “Navigating the Stars” 2:35 “The Hawaii Rooted campaign shares stories of the people who are keeping Hawaii’s culture and customs alive, from a traditional surfboard maker to a navigator of the open seas.”

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DIGITAL ADVERTISING 1 (series) Arthur Stewart, art director Chris Vandersall, writer Luke Oeth, creative director Josh Leutz, group creative director Marty Senn, chief creative officer Matt Lenski, director Jim Hutchins, editor Eric Matthew Sedorovitz, producer Zachariah Zutler, agency producer Marc Marrie/Mal Ward, executive producers Joe Grundhoefer/Christa Skotland, heads of production Arts & Sciences, production company HutchCo Technologies, editorial company Carmichael Lynch (Minneapolis, MN), ad agency Phillips 76, client “There’s a thing going on in culture right now—a very West Coast thing. People romanticizing life on the road via Instagram and the like. But Jean and Gene didn’t just dream about it. They made a late-night impulse purchase and turned their normal life into #VanLife.”

2 Kevin Gentile, art director Mike Abell, writer Michele Kunken, executive creative director Patrick Scissons, chief creative officer Matthijs Van Heijningen, MJZ, director Joost van Gelder, MJZ, director of photography Sathyaraj A/Todd Akita/Constance Besen/Anna Cardillo/Nick Couret/Seon Crawford/Adam Dewhirst/Krystal Sae Eua/Jimmy Gass/Tom Graham/Blake Guest/Justin Hammond/Tyler Heckman/Ren-Hsien Hsu/Sendil Kumar J/ Incheol Jeong/Karthick Karuppaswamy/Sewing Kim/Jai Kishan/Muthyala Krishnaiah/Tarun Kumar/Vitaal Kuntla/Jeffrey Lee/Hannah Lee/Jackie Liao/ Ziming Liu/Jeff Lopez/Arman Matin/Jonathan McCoy/Emily Meger/Mehrose/ Nole Murphy/Gokul Navaneethan/Nijesh/Sandeep Patil/Murali Krishna Reddy/Giri Prasath S/Chaitali Shah/Leela Shanker/Sivasubramanian/Karthik Viswanathan/John Wilson/Juan Zaval, The Mill, 3-D artists Yoon-sun Bae/Molly Intersimone/Dae Yoon Kang/Kshitij Khanna/Charles Lee/ Cédric Menard/Rachel Moon/Dhruv Shankar, The Mill, visual effects artists Kyle Cody/Kevin Ives/Ruben Vandebroek, The Mill, visual effects supervisors Mark Gethin, Moving Picture Company, colorist Jono Griffith, Work Editorial, editor Theo Mercado/Nayim Saati, assistant editors Gus Koven, Stimmüng, sound designer Nick Tuttle, Stimmüng, sound design Tom Jucarone, Sound Lounge, audio mixer Zack Franciose/Jalisa House, The Mill, production coordinators Kyle Cody/Ruben Vandebroek/Clairellen Wallin, The Mill, production supervisors Jon Schwartz, project director Amadeo Plaza/Kelsey Steele, strategists Isabelle Vrod, associate producer Sari Resnick, producer Donald Taylor, MJZ, line producer Anastasia von Rahl/Clairellen Wallin, The Mill, senior producers Kristina Iwankiw, Stimmüng/Eriks Krumins, MJZ/Sam Phillips, Woodwork Music/ Erica Thompson/Melanie Wickham, The Mill, executive producers Karen McKibben, executive agency producer David Zander, MJZ, principal Elizabeth Asselin/Sam Cook/Daniel Sharts, project managers Jenny Read, head of production MJZ, production company Work Editorial, editorial company Woodwork Music, music company The Mill, visual effects company Moving Picture Company, post-production company KBS (New York, NY), ad agency Elizabeth Koplan, Monster.com, client “Saved By Monster” :90 “A 50-foot monster rescues a woman from her dreary job with an obnoxious boss and takes her on a journey to find the job of her dreams.” Communication Arts | commarts.com

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DIGITAL ADVERTISING 1 Robbin Ingvarsson, art director Kako Mendez, writer Arnau Bosch, creative director Brent Anderson, chief creative officer Josh Marcy/Peymon Maskan, music Kirsten Larson, senior producer Chris Perry, executive producer MJZ, production company Final Cut, editorial company OMD Worldwide, media agency TBWA\Media Arts Lab (Los Angeles, CA), ad agency Apple Inc., client “Welcome Home” 3:45 “‘Welcome Home’ demonstrates the immersive listening experience HomePod can deliver in any home. It’s ultimately a universal tale about the effect that sound and music have in our living space, told through movement and dance. The character’s emotional journey is reflected in the colorful transformation of the physical environment.”

2 Caty Coplin/Ian McAllister, art directors Katie Sheridan/Louie Zuniga, senior art directors Madeline Adams, writer Alex Lukacs/Elizabeth Maloy/Nathalia Resende, associate creative directors Sanders Hearne, group creative director Al Patton, executive creative director John Stapleton, chief creative officer Stephen Bridges/David Burns, animators John Carlucci/Brandon LaGanke, ghost+cow, directors Daniel Herman, 22pictures, director of photography Kelvin Raharja, 3-D artist Matt Silliman, integrated production director David Yeend, strategy Josh Coleman, 22pictures/Bryan Lord/Katelin Perry, producers Bryan Jameson, 22pictures, executive producer Allie Hansen, project manager 22squared (Atlanta, GA), ad agency The Home Depot Inc., client “Pinterest is the go-to platform for DIY and decor inspiration. But for first-time homeowners, Pinterest often intimidates more than it inspires. To help build confidence, Home Depot created Built-In Pins, Pin-worthy rooms built inside Pinterest. As they watched each video Pin, people saw a room worthy of an ‘after’ photo built from scratch. Then, by hacking One-Tap Pins, we created the world’s first 360-degree shoppable experience on Pinterest.”

3 Ramon Hernandez, art director Jose Almodóvar, writer Gorka Fernández Iriso, creative director Carlos Jorge, chief creative officer Victor Carrey, director Contrapunto BBDO/Trafalgar13 Music House, music Serena Digital, sound design/post-production company Melissa Ferrero, producer Gema Crespo, agency producer Puente Aéreo Films, production company Contrapunto BBDO (Madrid, Spain), ad agency Rocio Poggio, Mercedes-Benz España, S.A., client “Electric Love” 2:45 “The smartlovers concept is an emotional one based on the driver and the relationship with her or his car.” 104

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SELF-PROMOTION 1 (series) gyro New York/Celia Staffa, art directors Kash Sree, creative director gyro New York (New York, NY), writer/ad agency/client “If gyro were going to reinvent B2B, we would need to attract better talent by communicating our creative culture to the industry and, more importantly, students. We started teaching Adhouse classes with this in mind, where each week at the agency, the best student would receive a gyro notebook creatively personalized by everyone from the chief executive officer to the receptionist. And, each week, the now-soughtafter notebooks would then be shared by the students and gyro on social media.”

2 Christina Ortiz, creative director St. Vincent Press, print producer Jean Komendera, chief executive officer Gold Dog Communications (Falls Church, VA), ad agency/client “Gold Dog Communications creates get-noticed stories for our clients and their brands. In 2017, we produced a series of fun and frisky holiday tags that inspired our clients to deliver storied gifts of their own. The tags needed to shine, so we imprinted them on stipple-textured bright white paper, with gold foil stamping for extra sparkle.”

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SELF-PROMOTION 1 (series) Mitchell Ditto, writer Zach Hale, creative director Zach Hale/Ryan Raschbaum, designers The Matchbox Studio (Dallas, TX), design firm/client “To promote the Matchbox Studio, we created a series of Valentine’s Day–themed cards, enamel pins, packaging and more to send to prospective clients in the cannabis industry.”

INTEGRATED CAMPAIGNS 2 (series) Matt Hubbard/Mike Schonberger, associate creative directors Todd Mackie/Denise Rossetto, chief creative officers Jeff Sangster, technology director Douglas Glover/Jeff Sacco/Trevor Shaikin, developers David Whiteson, online editor Kacper Larski, director Kiel Milligan, director of photography Connor Fisher, colorist Monica Remba, editor Vlad Nikolic, sound engineer Tom Kenny, planner Kyle Hollett, line producer Beatrice Bodogh, agency producer Jason Dick/Melissa Hadley, project managers Asymetric Media Ltd., production company Grayson Matthews, music company Alter Ego Post/Married to Giants, post-production companies BBDO Toronto (Toronto, Canada), ad agency Martin Richard, Canadian Paralympic Committee, client “Due to a lack of media coverage, the incredible accomplishments of Paralympic athletes were going unseen. So, we created our own social broadcast network made entirely of fans. After securing more than 600 hours of live events direct from Pyeongchang, we launched a recruitment campaign inviting fans to become broadcasters. On our website, events organized by sport, date and time were scheduled for broadcast up to a week in advance. When they went live, they posted to social feeds automatically, extending coverage and creating an entirely new fan base in the process.”

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109

INTEGRATED CAMPAIGNS 1 (series) Fern Cohen/Margot Owett, creative directors João Coutinho, executive creative director Leslie Sims, chief creative officer Thea Pilarczyk, designer Martin Kalanda, design director The Mill, colorist One Thousand Birds, sound design Maggie Diaz/Adele Solomon, production managers Britta Dahl, project director William Gastinger, senior producer Brit Hager, agency producer Lauriana Zuluaga, agency music producer Eric Ackley, digital producer Catherine Patterson/Mathieu Shrontz, executive agency producers Seth Galena/Arantza Urruchua, project managers Greg Lotus, head of production Ghost Robot, production company Wavemaker, media agency Y&R New York, ad agency Linda Bandith/Barbara Basney/Kirsten Foulke/John Fredette, Xerox (Norwalk, CT), clients “The campaign Set the Page Free enlisted some of the least office-y people—fourteen world-famous authors and creative talents—to collaborate on the ultimate story of the modern workplace. There was just one rule: use the new Xerox smart printers, apps and software. The project included a microsite; a multiphased social and digital campaign; a short-form film and podcast series that documented the quirky, funny and sometimes poignant accounts of the talents’ role in the collaboration; and a live-streamed book launch event. The final book, Speaking of Work, is currently available at barnesandnoble.com.”

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INTEGRATED CAMPAIGNS 1 (series) Carly Ouellette, art director Gints Bruveris/David Mueller, associate creative directors Meredith Klapowich/Laura Serra, Narrative, creative directors Joseph Bonnici/Dan Strasser, executive creative directors Alex Chung/Katherine Flores, Narrative, designers Tory Nash, Narrative, consultant Sanjay Mangar, design director Matt Barnes, Westside Studio/Shawn Pinnock, photographers Patrick Schroen, technology director Jamie Kaiser, motion graphics Hubert Davis/Sarah Spence, Narrative, directors Julian Peter, video director Tim Pienta, editor Berkeley Inc., audio engineer Aaron Nilsen/Samantha Sartor, Narrative, production coordinators Holly McDonald, Narrative, production supervisor Lauren Baswick, Narrative/Jill Engelman/Daniella Perruccio, OneMethod, project directors Courtney Dionne, OneMethod/Aurora Stewart de Peña, strategists Michelle Pilling, agency producer Yolanda Abrahams, Narrative/Ashley Belfast, project managers Alter Ego Post/Fort York VFX/Rooster Post Production, post-production companies Bensimon Byrne (Toronto, Canada), ad agency Joanne Simons/Martha Turner, Casey House, clients “Even in a country as progressive as Canada, 50 percent of Canadians wouldn’t eat a meal prepared by someone with HIV. This startling fact underlines how deeply ingrained HIV stigma is today, even after 30 years of education and awareness. To smash stigma, we opened the world’s first HIV-positive eatery and named it June’s after Casey House founder June Callwood. We enlisted HIV-positive volunteers—some with little to no cooking experience—and trained them to become chefs. For three days, they challenged patrons to confront their own ignorance around the disease and swallow their prejudice.”

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INTEGRATED CAMPAIGNS 1 (series) Alexandre Jourdain/Jonathan Lavoie, art directors Marilou Aubin/Marie-Ève Leclerc-Dion/Jean-François Perreault, writers Marilou Aubin/Katherine Melançon, creative directors Marc Fortin, executive creative director Geneviève Monette, interactive designer Cédric Givord/Mathieu Lavoie/François Perreault, developers Mélanie Charbonneau, director Mathieu Lebel, Post 430, editor Circonflex, sound engineer Isabelle Borduas/Céline Courtois, production coordinators Alex Ertaskiran, production manager Audrey Lefebvre, project director Sabrina Côté, planner Mélanie Bazinet/Nancy McDonald/Johanne Pelland, agency producers Fig55, broadcast producer Alex Sliman, Cinélande, executive producer Julie Doré-Renaud/Nicolas Girault/Julia Lemyre-Cossette, project managers Post 430, post-production company Touché!, media agency lg2 (Montréal, Canada), ad agency Alliance de l’industrie touristique du Québec, client “Québec’s tourism offering is so rich and diverse that it enables you to experience a different Québec every day. This insight became the inspiration for A Room with Many Views, a campaign starring a room that offers its occupants a spectacular new view each morning. The centerpiece of the campaign is a documentary film featuring an American tourist couple. Transported in a mobile room to the four corners of the province, the couple never knew what their next destination would be or what would be waiting for them when they awoke. From public relations to digital banners and content integration, campaign content was determined by data mining and search engine results analysis. Even the room’s travel itinerary was created based on search trends and the online behavior of potential visitors. A Room with Many Views included a retargeting strategy of audiences according to their interests. It offered a guided interactive experience featuring a series of 360-degree videos that highlighted the most spectacular views in Québec, and it invited potential travelers to pick and share their favorites in preparation for their trip.”

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INTEGRATED CAMPAIGNS 1 (series) Migyue Zhang, writer Michael Lu/Mesu Lu, associate creative directors Stephen Kong/David Seah, creative directors Chuck Monn, group creative director Brent Anderson, chief creative officer Supervision New York, photographer Peter Ho-Sun Chan, The Eye, director YiBo Chan, The Eye, editor JoJo Hui, The Eye, producer Sidney Lim, broadcast producer The Eye, production company OMD Worldwide, media agency TBWA\Media Arts Lab (Los Angeles, CA), ad agency Apple Inc., client “To drive salience for Chinese New Year, we celebrated precious family reunions as only the innovative tech of the iPhone could capture. The team utilized the three biggest video platforms—iQiyi, Tencent, Youku— and apple.com/cn to house the film and promote it through their paid and owned placement. In addition to the film, shorter films ran in Chinese New Year specials and entertainment programming across TV, online video platforms and cinema, and were promoted in social. Stills in out-ofhome ads across fifteen cities and full-screen app ads drove views across digital platforms.”

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INTEGRATED CAMPAIGNS 1 (series) Rich Ford/Eric Kaufman, writers Pete Favat, chief creative officer, North America Amy Lee, design Nathan Iverson, design director Pam Scheideler, technology director Michael Weitzmann, developer Eric Kaufman, director Ali Issari, senior producer Lindsey Najdovski, senior integrated producer Laura Tron, executive integrated producer Chris Fox, executive agency producer Vic Palumbo, head of production Steelhead, production company Deutsch (Los Angeles, CA), ad agency Interscope Records, client “Interscope Records was looking for a unique launch for Eminem’s top-secret new album, Revival. Production company Steelhead devised a plan for Eminem to subvert his own high-profile record launch by using the most un-hip-hop marketing there is— pharmaceutical advertising. And so, Revival the prescription drug was born. An entire, very authentic pharmaceutical campaign was launched for people suffering from Atrox Rithimus, Latin for ‘bad ryhmes.’ We snuck hidden messages into a completely fake but eerily convincing pharmaceutical ad and placed it on air leading up to Eminem’s Saturday Night Live performance. Then, we left breadcrumbs on social media and created a 1-800 number to provide a set of clues that led up to the launch. The fans who dug the deepest for these clues were rewarded the most, as every piece of clichéd pharmaceutical content was layered with hints and Easter eggs.”

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INTEGRATED CAMPAIGNS 1 (series) Justin Davis/David Hahn, art directors Mike Collins/Matt Klugman, writers Bridget Jewell/Dustin Joyce, creative directors Rob Peichel, group creative director Peter Nicholson, chief creative officer Jade Bayonet, designer Neal Reiter, photographer Ben Hall, editor Olivia Bohringer/Elizabeth Dutcher/Maggie Summers, strategists Taylor Lovaas, strategic planner Martha Hedstrom/Sara Londo, producers Jenna Wade, project manager Periscope (Minneapolis, MN), ad agency Trolli, client “When it comes to sneakers, it’s all about authenticity and exclusivity. So, when Trolli teamed up with James Harden and adidas to gummify the sneaker game, we satisfied the world’s ‘sneak tooth’ with a leak, drop, hype approach. The leak began with minibox samples at the NBA All-Star Game, and continued with sneakerhead influencers sharing the candy like real shoes on Instagram. The drop involved Harden himself encouraging fans to turn our candy into their canvas on Instagram using the all-new remix functionality. Finally, the hype phase featured three pairs of ultrarare, life-sized gummi kicks up for bid on StockX, the world’s leading aftermarket retailer of rare sneakers.”

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INTEGRATED CAMPAIGNS 1 (series) Lauren Culbertson, senior art director Ryan Sims, writer Mike Cessario, creative director Jason Gaboriau/Eric Weisberg, chief creative officers Eric Johnson/Steev Szafranski, designers Drew Brooks, design director Doug Thomson, production supervisor Sara Schwartz, project director Scott McDonald, producer Kathryn Lyons-Urbanek, art producer Ron Sheffield, head of production MullenLowe Mediahub/Rapport, media agencies Doner (Southfield, MI), ad agency Netflix, client “Stranger Things is Netflix’s love letter to all things 1980s. The sci-fi thriller is set in the mythical town of Hawkins, Indiana, where Hawkins National Laboratory serves as a CIA site for human experimentation. In season two, the nefarious laboratory sought to overhaul its image; we created a long-overdue ‘corporate transparency’ campaign to help. The unbranded, direct-response campaign began with cryptic out-of-home placements inspired by ’80s art direction and typography. Billboards and subway posters prompted people to call a toll-free number. Curious dialers were transported into an audio experience full of surprises, beginning with a warm greeting from Dr. Sam Owens (played by Paul Reiser), followed by a choose-your-own-adventure phone tree. Callers bold enough to leave their contact information were rewarded with a surprise mail package full of exclusive swag.”

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INTEGRATED CAMPAIGNS 1 (series) Peter Knierim/Dave Steinke, creative directors Adam Chasnow, executive creative director Christina Robins, compositor Hank Perlman, director Clark Jackson, colorist Jess Weber, editor Matthew Polis, sound designer SoundSpace, sound design Rob Hofferman/Devin Reiter, project directors Kaylin Goldstein/Emma Price, strategists Lisa Effress, producer Annie Turlay, agency producer Kevin Bryne/Dan Duffy, executive producers Anne Crosby/Ashley Huehnerfuss, project managers Julie Kopitsky, head of production Hungry Man, production company 11 Dollar Bill, post-production company CP+B (Boulder, CO), ad agency Rachel Drof/Kathryn Goodman/Michelle St. Jacques, The Kraft Heinz Company, clients “Kraft Mac & Cheese launched a new campaign called Make It Right, which celebrated the honest truth that as hard as parents try, they aren’t perfect. For Mother’s Day, Kraft teamed up with swearing expert Melissa Mohr, PhD, to reassure moms that although 74 percent of them admit to swearing in front of their kids, it’s all OK. In a two-minute web video, Mohr presented the eye-popping stats on swearing—letting cursing parents know they’re not alone—and introduced some family-friendlier oaths, like ‘flippin’ goofnuggets,’ for those less-than-perfect parenting moments. Kraft also made a limited number of custom Mother’s Day cards that celebrated perfectly imperfect moms and included a little something to help out in those not-so-motherly moments: ‘fail-cancelling’ earplugs.”

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INTEGRATED CAMPAIGNS 1 (series) Tony Mauer/Jim Root/Zack Schulze, art directors Tim Halverson, writer Ned Brown/Todd Stone, group creative directors Chris Jacobs, executive creative director Marshall Ross, chief creative officer Shawn Holpfer, design director Shawn Holpfer/Zack Schulze, illustrators Kelli Buchholz, production supervisor Lisa Rios, strategist Cramer-Krasselt (Milwaukee, WI), ad agency Diverse & Resilient, client “In urban Milwaukee, the teen birth rate is more than three times the national average, and sexually transmitted infections are the highest in the country. These teens are receiving the message, but they’re ignoring it because social acceptance is everything. To them, condoms just aren’t cool. So, instead of changing the conversation, we changed the product. We reinvented the condom to speak to teens on their terms.”

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INTEGRATED CAMPAIGNS 1 (series) Elma Karabegovic/Gira Moin/Michael Morelli/Cody Sabatine, art directors Marty Hoefkes/Joseph Vernuccio, writers Nancy Crimi-Lamanna/Jeff Hilts, chief creative officers Amanda Disanto/Logan Franklin/Sally Fung/Sasha Ortega, illustrators Billy Mavrakakis/Rittie Prak, artists Madara Ranawake, technology director Ernie Mordak, Flame artist Elias Campbell/Scott Drucker, directors Scott Drucker/Stephen McLoughlin, directors of photography Andrew Exworth, colorist Chris Parkins/Joële Walinga, editors Stef Fabich, integrated production director Eryn LeMesurier, strategy Shelagh Hartford, strategist Shelley Brown, strategic planner Christine Michalejko, broadcast producer Melissa Kahn, executive producer Ashley Whitaker, project manager Rooster Post Production, editorial company Grayson Matthews, music company Fort York VFX/The Vanity, post-production companies FCB Canada (Toronto, Canada), ad agency Ed Casagrande/Kirk Crowther/Laura LaChance/Stewart Moffatt/Kaitlyn Pecson/ Carlee Reardon/Ben Tarr, Canadian Down Syndrome Society, clients “The Canadian Down Syndrome Society had a mission: to stop people from saying ‘I’m sorry’ when reacting to the birth of a baby with Down syndrome and prove that these babies are deserving of the same welcome and celebration as any other newborn. Anything But Sorry, an integrated digital campaign that launched with social video ‘The S-Word,’ features people with Down syndrome offering humorously inappropriate suggestions to welcome a baby with Down syndrome. We used an unorthodox tone for our subject matter—edgy, off-side humor delivered by people with Down syndrome—to engineer ‘social-first’ content that we knew would spread organically. At the same time, we launched docu-stories of Down syndrome families affected by the word sorry. We even targeted the top 30 YouTube videos containing the word sorry with language warnings. Our ‘S warnings’ featured our Down syndrome talent warning viewers of the ‘inappropriate’ language they were about to hear. Everything drove to a microsite where people shared more colorful welcomes that were anything but sorry.”

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INTEGRATED CAMPAIGNS 1 (series) Robert Hajek/Gabriel Sanchez, Casanova//McCann, art directors James Beikmohamadi/Will Benham/Mitch Bennett/David Berngartt/Erin Fillingim/Mike Groenewald/Robert Hajek/Troy Harris/Marta Matías, Casanova//McCann/ Seth McWhorter/Katie Mellor/Bowen Mendelson/ Courtney Saul/Max Schein/Matt Shoemake/Andrew Wernette/Wes Whitener/Sherman Winfield, writers James Beikmohamadi/Sherman Winfield, associate creative directors Mike Groenewald/Bowen Mendelson/Alejandro Ortiz, Casanova//McCann, creative directors Mitch Bennett/John Mescall, McCann Worldgroup/Wes Whitener, executive creative directors Noel Cottrell, chief creative officer Score a Score, music David Matathia/Katy Tenerovich, strategy David Berngartt, senior producer Christine Sigety, chief production officer Troy Harris, project manager Fitzco//McCann (Atlanta, GA), ad agency The Coca-Cola Company, client “We took Share a Coke to a whole new level by crafting a unique song for every name on Coke bottles.”

PUBLIC SERVICE 2 (series) Julian Sánchez, art director Moria Deshpande/Julio Ortiz, writers Raquel Jácome/Troy Leyenaar, creative directors Antonio Lopez, group creative director Maurizio Villarreal, executive creative director Debbi Vandeven, chief creative officer John Godsey, chief creative officer, North America Carlos Ordóñez, design director Felipe Rincón, photographer Catalina Hernandez, project manager Juan Pablo Rubiano, producer VML (Kansas City, MO), ad agency Amblyopia World Campaign, client “Amblyopia isn’t hard to treat, but diagnosing it in kids who lack access to medical care is. So, to reach kids in disadvantaged communities, we created play masks that doubled as eye patches, which we attached for free to local newspapers. Tapping into something all kids love— coloring—we encouraged them to color in the counter spaces of the letters in the newspapers to help diagnose the condition and then possibly treat it.”

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PUBLIC SERVICE 1 David Hernandez/Tim Hogan/Estee Mathes/Sam Spratlin, art directors Samantha Gorelik, writer Joe Sciarrotta, creative director Ogilvy Chicago (Chicago, IL), ad agency Team Gleason, client “Many people living with amyotrophic lateral sclerosis (ALS) lose the ability to speak, relying on eye-tracking technology to communicate. But access to this technology was in jeopardy if Congress didn’t pass the Steve Gleason Enduring Voices Act. To get their attention, we did something politicians do all the time—we robocalled them. We created a call center where ALS patients called politicians using the very technology they risked losing. We then drove the public to KeepMyVoice.com, where they could use eye-tracking technology to contact Congress. On February 9, 2018, the act was signed into law.”

2 Anna Taylor, art director Edith Freni/Juan Vidal, writers Alok Nath, creative director Shannon Collins/John Fain/Tami Oliva, creative contributors Craig Miller, group creative director Robin Fitzgerald, chief creative officer Brad Castlen, designer Tim Cash, technology director JR Reed/Mike Smith, developers James Crawford, editor Jessica Holt, director Mark Apen, line producer Marc Calamia, integrated production director Kathleen Quillian, production manager Jen Copeland/Nigel Tribe, strategists Adam Renshaw, producer Jennifer Boxley, associate producer Chris Buda/Katie Crews, integrated producers Jim Issa, senior producer Beth Marshall, executive producer Spitfire Studios, production company BBDO Atlanta (Atlanta, GA), ad agency Street Grace, client “Street Grace is dedicated to bringing the issue of sex trafficking into the spotlight. We leveraged the Halloween season to create a house of horrors that simulated a real sex-trafficking operation. An immersive theatrical team brought survivors’ stories to life in a suburban house, showing visitors up close how traffickers exploit their victims. Virtual reality let online visitors experience the house, while local politicians, leaders and youth groups visited in person.”

3 (poster series) Marc Guilbault, art director Guillaume Bergeron, writer François Sauvé, creative director Sébastien Thibault, illustrator Élisabeth Desmarais/Thalie Poulin, project managers Mélanie Thérien, production manager Mélanie Bruneau, agency producer lg2 (Montréal, Canada), ad agency Émilie Chiasson/Pierre Lussier, Earth Day Québec, clients

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PUBLIC SERVICE 1 (newspaper series) Antonio Castillo/Raúl López, art directors Lolo Ortega, writer Antonio Castillo/Lolo Ortega, creative directors Carlos Jorge, chief creative officer Borja Acosta de Vizcaíno/Pablo Cabrera, illustrators Daniel Rubio, retoucher Gema Crespo, agency producer Contrapunto BBDO (Madrid, Spain), ad agency Miguel Angel Calderón, Amnistía Internacional, client

2 (series) Janet Wen, art director Shirley Yushkov, writer James Ansley/Joel Arbez, creative directors Grey Canada (Toronto, Canada), ad agency The Salvation Army, client “By emulating BuzzFeed’s Tasty videos, we gave viewers a taste of poverty they might not expect.”

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PUBLIC SERVICE 1 (magazine ad) Andy Linardatos/Hylton Mann, group creative directors Graham Lang, chief creative officer Hylton Mann, illustrator Juniper Park\TBWA Communications (Toronto, Canada), ad agency IFEX, client

2 Haseeb Akram, art director Fatima Ansari/Khairaza Khan/Huma Mobin/Aamna Rahim, writers Moiz Khan, associate creative director Assam Khalid/Hira Mohibullah/Ali Rez, creative directors Ali Rez, executive creative director Ali Xeeshan, designer Ali Xeeshan Theater Studio, design Ahmed Zafar, graphic design Haroon Rashid, design director Abdullah Haris, photographer Mian Aleem Ali/Atif Pasha, production designers Tazeen Asaad/Eesha Khan, project managers Raza Shah, producer Jamayal Tanweer, digital producer BBDO Pakistan (Lahore, Pakistan), ad agency UN Women, client “Almost a quarter of all Pakistani women in the last ten years have been married before the age of eighteen. This year, our idea was to hijack the country’s largest bridal fashion show, where we would launch a new kind of bridal gown: one that highlights the fact that early marriages result in loss of education and empowerment for girls. We collaborated with Ali Xeeshan, the nation’s best-known fashion designer, to design the Bridal Uniform—a typical Pakistani schoolgirl’s uniform merged with a traditional Pakistani bride’s wedding gown, through the use of local embroidery patterns and motifs sewn directly into the uniform. On the night of the biggest show, we surprised everybody by revealing it as the showstopper.”

3 Marina Arnone/David Hernandez, art directors Kate Desmarais/Luis Gabriel Ramírez Arias, writers Joe Sciarrotta, creative director Ogilvy Chicago (Chicago, IL), ad agency Cook County Health and Hospitals System, client “An incubator in the neonatal intensive care unit was transformed into an online listing that people could book on behalf of a preemie baby. The listing described all the life-saving amenities an incubator provides, helping to create awareness and raise funds for the work done by the Cook County Health and Hospitals System. The 3.4square-foot one-bedroom apartment was advertised in the classified sections of local newspapers and on major online rental sites, for $4,000 a night. We promoted the listing for a month beginning on April 27.”

4 (poster series) Chad Grandey, art director/writer/creative director Schifino Lee (Tampa, FL), ad agency The Roberto Clemente Museum, client

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PUBLIC SERVICE 1 Meredith Karr/Kristina Krkljus, MAL\FOR GOOD, associate creative directors Xanthe Wells, MAL\FOR GOOD, executive creative director Duncan Milner, MAL\FOR GOOD, chief creative officer Dustin Callif/Nancy Hacohen, Tool, managing directors, creative Rachel McDonald, Tool, director Amado Stachenfeld, Tool, director of photography Brad English, Tool/Wade Harpootlian/Alicia Portner/Hope Sword, MAL\FOR GOOD, producers Jennifer Golub, MAL\FOR GOOD/Brad Johns, Tool, executive producers Tool (Santa Monica, CA), production company NO6, editorial company Framestore, visual effects company MAL\FOR GOOD, ad agency One Love Foundation, client “Zoe & Will” 13:00 “This PSA raises awareness of abusive relationships by revealing very different realities behind the often ‘perfect’ relationships portrayed in social media posts. The film launched online with ten individual vignettes across nonprofit organization One Love Foundation’s social channels, and One Love even took the campaign to high schools and colleges to include in their curriculums, along with a ‘Behind The Post’ discussion guide.”

2 Hridii Kamal/Angelo Maia/Louis Prenaud, art directors Ricardo Franco, writer Gustavo Dorietto, creative director Chris Beresford-Hill/Chris Garbutt, chief creative officers Eric Kopicki/Gina Pido, design Theo Allen/Bonnie Wang, photographers Charles Nordeen, director John Doris, executive director of production Jonathan Deves, planner Alex Campbell/Steven Kreuch, senior producers Matt Flaherty, executive agency producer Justine LaViolette, production company producer Rob Schwartz, chief executive officer Freshh.tv, production company TBWA\Chiat\Day (New York, NY), ad agency One Love Foundation, client “We transformed common unhealthy relationship behaviors into traditional Valentine’s Day gifts. Then we opened a pop-up store in New York City for the fourteen days preceding Valentine’s Day, where people interacted with the items, such as a heart-shaped pendant with a tracking chip synced to an app on a partner’s phone, and a stuffed bear that alternates between ‘I hate you’ and ‘I’m sorry.’ By shining a spotlight on toxic behaviors, the products started meaningful conversations about unhealthy and healthy relationships.”

3 Alex Boland/Laura Stein, art directors Alexis Bronstorph, writer Alexis Bronstorph/Kelsey Horne, creative directors Jeffrey Da Silva/Tom Koukodimos, executive creative directors Alex Boland, designer Sid Lee (Toronto, Canada), ad agency Black Lives Matter, client “In 2017, 20 separate Black Lives Matter chapters united to form Black Lives Matter Canada. To symbolize this unification and honor the black men and women affected by unnecessary police gun violence, we created a flag made entirely of Kevlar, the same material used in bulletproof vests worn by law enforcement. The flags will be exhibited as part of a cross-country tour, provoking conversation about the power of art and activism in our communities.” 138

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PUBLIC SERVICE 1 (magazine ad) Étienne Goulet, art director Stéphanie Bibeau, writer Alexandre Gadoua, creative director TANK (Montréal, Canada), ad agency Jennifer Phillips, Samara, client

2 Hayley Lim, art director/illustrator Adrien Héron/Ugo Martinez, writers Marie-Ève Best, creative director Jonathan Rouxel, associate executive creative director Mathieu Harrisson, designer Alexandre Bourdon, creative technologist Bleublancrouge (Montréal, Canada), ad agency Let’s Drink Better, client “Approximately 30 percent of 18- to 34-year-olds consume five or more drinks per outing, and do so at least twelve times a year. This habit poses a serious health risk, but, luckily, it can be remedied by simply reducing the number of drinks per outing. However, this generation is not so good at tracking how much they drink. Knowing that more than 90 percent of our target audience uses a messaging app as a primary way of keeping in touch with friends, we created the first Facebook Messenger chatbot designed specifically for social drinkers. Available 24/7 via smartphone, our intelligent chatbot offers social drinkers an easy-to-use tool to manage and track their alcohol consumption.”

PUBLIC SERVICE TV 3 “Haircut” :45 “A dynamic testicle duo raises awareness about testicular cancer.” Steven Kim, art director Brandon Tralman-Baker, writer Natalie Armata/Alanna Nathanson, creative directors Griff Henderson/Cameron Lasovich/Stephen Sora, editors Morgan Campbell/Chris Chang, assistant editors Saints Editorial, editorial company Eggplant Picture & Sound, sound design Candice McHugh, sound design executive producer Jason Jeffrey, director Gino Cantalini, strategist Max Brook, producer Kristen Huys, agency producer Harland Weiss, executive producer Rob Tunnicliff, executive agency producer Stephanie Hickman, post-production producer Brave Productions/OPC, production companies Giants & Gentlemen (Toronto, Canada), ad agency Testicular Cancer Canada, client

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PUBLIC SERVICE TV 1 (series) “ENDWI: The Reality” 2:30, 2:30, 1:15, 1:15, 1:15, 1:15, 1:15, 1:15 “‘ENDWI: The Reality’ is a series of television spots that follow the actions of a man arrested for drunk driving. The spots were produced with a ‘reality television’ approach, so it appears to viewers that they are seeing the entire process as it really unfolds. We follow the driver from the moment he is pulled over, through sobriety tests, an arrest, processing, his night spent in jail, a court appearance and up to his eventual release.” Nick Tauro Jr., creative director Richard Kuhn, executive creative director Ernesto Melara, director of photography Phil Griego, editor David Garcia, director Dream Mullick/Claudio Ruben, producers halflife* digital/Mountain Road Studio, production companies RK Venture (Albuquerque, NM), ad agency New Mexico Department of Transportation, client

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PUBLIC SERVICE TV 1 (series) “The Wedding Caterer” :60, “The Hardware Store” :60, “The Art Gallery” :60 “Violence against women is a massive problem worldwide, and the pervasive practice of victim blaming is a barrier to ending it. We produced three spots highlighting the absurdity of victim blaming, and how it would look if you were to apply that kind of ‘illogical’ logic to everyday situations.” David Gassman, art director/creative director Johanna Stein, writer/director Dan Hertzog, director of photography Blake Huber, colorist David Andreini, editor Perry Robertson, sound designer EarCandy Post, sound design Destiny Farrant, audio mixer Elizabeth Giersbrook, agency producer Julie Ashton, executive producer Ganna Hertzog/Anthony Mosa/Emily Norovsambuu, production company producers Megan Dahlman/Darren Jaffe/Wendy Umanzor, post-production producers In the Wee hours, production company Cutters, editorial company Flavor, post-production company 101-North (Sherman Oaks, CA), ad agency It’s On Us, client

2 “Credits” :45 “In the lead-up to the Oscars and International Women’s Day, the Assaulted Women’s Helpline in Ontario released a PSA shining a spotlight on the culture of silent complicity that perpetuates sexual misconduct in Hollywood.” Leia Rogers, art director Morgan Tierney, writer Ian Grais/Leia Rogers/Chris Staples/Morgan Tierney, creative directors Rob Forbes/Leigh O’Neill/Elad Tzadok, editors Leah Gregg, strategist Robyn Farnham, producer Rethink (Toronto, Canada), ad agency Assaulted Women’s Helpline, client

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PUBLIC SERVICE TV 1 (series) “The End of Childhood” :60, :75, :60 “Nearly one in four children around the world are being robbed of their childhoods. To bring this crisis to light, Save the Children launched the End of Childhood Report and Index to evaluate countries on threats to childhood, such as pregnancy and forced labor. Bringing emotion to the facts and figures, we created videos featuring children ‘unboxing’ what looked like toys. But each box actually contained an object reflecting a childhood threat.” Rei Young, senior art director Ryan Cwiklinski, writer Dan Jividen, creative director Jim Paul, executive creative director Tom Beckman, worldwide executive creative director Martin Rodahl, 71 Degrees North, director Christina Stump, editor Stosh Tuszynski, NoiseFloor, sound design Michael Nowicki, 71 Degrees North, producer Maureen Lynch, senior broadcast producer Neha Datt Schultz, 71 Degrees North, executive producer Weber Shandwick (Chicago, IL), ad agency Eileen Burke/Wendy Christian/Kandace Doyle/Kristen Lacey/ Jordan Linsk/Mathew McHugh, Save the Children, clients

2 (series) “Rabbit” :30, “Parrot” :30, “Dog” :30 “Many tobacco users try to quit for their kids, including, we hoped, their furry and feathered ones. But research shows that most people don’t know that pets are affected by secondhand smoke similarly to infants and children.” Destin Cox, art director Coby Gerstner, writer Kyle Curtis, creative director Arnie DiGeorge, executive creative director Jordan Oliver/Scott Rice, directors Wes Meyers, visual effects artist R&R Partners (Las Vegas, NV), ad agency Utah Department of Health Tobacco Prevention and Control Program, client

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RADIO COMMERCIALS 1 (series) “Heart” :30 SFX: Heartbeat. The heart speaks in bursts, repeating itself to the rhythm of its beating. Heart: Oh no. Oh no. Oh no. Oh no. Oh no. Brain: Uh, hey heart, it’s brain. How ya doin’ there? Ready to ride the Revelation? Heart: Hi brain. I’m fine. Totally fine. Oh no. Oh dear. Oh my. Brain: Don’t worry! It’s just swinging upside down while spinning. It’s fun! SFX: The heart speeds up. Heart: Oh geez. Oh no. Oh boy. Let’s not. Turn around. Gonna die. Gonna die. Brain: No turning back now, we’re about to launch! Heart: Abort Abort Abort Abort Abort Abort! Brain: Never!! SFX: The ride launches. Brain: Wheeeeee!!! Heart: Aaaaahhhh!! SFX: Speaker crackle. Anncr.: Playland. Now open daily.

2 (series) “Hipsters” :30 Tom Bodett: Hi. Tom Bodett, with a word for hipsters. It’s gettin’ harder to find that perfect thing nobody’s ever heard of. I mean, artisanal persimmon marmalades don’t grow on trees. Or do they? Anyway, when you wind up so far outside the mainstream you need to rest for the night, point your vintage scooter at Motel 6, suppliers of locally sourced rooms for great low rates since way before it was cool. And if you think that sounds good, you should hear it on vinyl. I’m Tom Bodett for Motel 6, and we’ll leave the light on for you.

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“Stomach” :30 Stomach: How’s it goin’ brain? Brain: Heeeey, what’s up stomach? Stomach: I’m having the best day. Popcorn, cotton candy, a corndog! Then bam! Minidonuts. Brain: Nice! Stomach: I am one stuffed tummy. Yep, nothing could possibly ruin this magical da— SFX: Muffled ride launch. Stomach: Whhaaaaaaaaaa!!!! What’s happening!? We’re flying!! Brain: Hold on, stomach! Hold on! Stomach: Prepare to evacuate in five… four… Brain: No! Don’t do it. Stomach: ...three… two… Brain: I’ll tell the hands to hold back the hair! Stomach: one… Brain: Aaaaahhh— SFX: Speaker crackle. Anncr.: Playland. Now open daily.

“Organs” :30 Brain: Eyeballs, this is brain. Eyes: Hello, brain! Brain: Ears, do you read? Ears: Loud and clear! Brain: Vocal chords? Vocal Chords: (warming up) Standing by! Brain: All right, this is what we’ve trained for. I don’t want any accidents this time. Bladder, I’m looking at you. Bladder: Sorry. Brain: Okay lungs, deep breath in. Heart, can we cool it on the pounding please? Aaaaand… SFX: Muffled ride launch. All: Aaaaaahahhaaaa!!! SFX: The ride ends. Pause. Bladder: Sorry. SFX: Speaker crackle. Anncr.: Playland. Now open daily.

“Fusion” :30 Tom Bodett: Hi. Tom Bodett, with a word on fusion cuisine, where you mix one country’s food with another one. I always called that “stew.” But whatever gets you to dessert. So, whether you like a French vichyssoise with Thai chili oil or you’re more into the fusion of American burger and French fries, you’ll save more for that meal at Motel 6. It’s an intriguing mix of clean, comfortable and low prices. Or as we fusionistas call it, CleaCoLo. I’m Tom Bodett for Motel 6, and we’ll leave the light on for you.

“Vocal Fry” :30 Tom Bodett: Hiiiii, Tom Bodett herrrrrre. Apparently, it’s super cool to do this voiiiiiice when you’re trying to be real seriousssss. It’s called “vocal fry.” Yahhhhh… so I just want to stress how at Motel 6, you can get a great room for a great low priiiii—[Coughs] How do they keep this up? Feel like I have mono. I’m Tom Bodett for Motel 6, and we’ll leave the lozenge on for you… light, I meant light.

Morgan Tierney, writer Ian Grais/Chris Staples, creative directors Craig Zarazun, sound engineer Megan Hughes/Carla Olson, producers Wave Productions, production company Rethink (Toronto, Canada), ad agency Playland, client

Wendy Mayes/Chris Smith, writers Chris Smith, creative director Tom Bodett, voice talent Glenn Ferguson, audio engineer Sheri Cartwright, producer Post Op, production company The Richards Group (Dallas, TX), ad agency Motel 6, client

3 (series) “Opera Deaths” :60 Anncr.: Murdered by your blackmailer. Dancing yourself to death. Stabbed in revenge for murdering your own customers. Killed by poison meant for another. Swept away in an avalanche. Accidentally buried alive in an Egyptian tomb. Stabbed in the neck by a clown. Eating poison mushrooms served by your girlfriend. Pecked to death by a chicken. Singing a joyful tune as you face the guillotine. Having your lover restore your health, right before she poisons you. Being dragged to the depths of hell by a horde of demons. Impaling yourself with a fence post after suffocating your rival with a pillow. Throwing yourself off a cliff. Throwing yourself into an abyss. Throwing yourself into a cauldron of boiling water. Being thrown by others into a cauldron of boiling water. Drinking poisoned tea, then getting stabbed in the back, shot in the face, stuffed in a sack, and thrown into an icy river. There are so many ways to die at the opera. Which is your favorite? Find out at Lyric Opera dot org slash opera enough. Lyric Opera. Are you opera enough?

“Moths” :60 Anncr.: The human ear. A masterpiece of natural engineering. But nothing compared to that of the common moth. Moths have the most advanced hearing of any species on the planet. But what are they listening to? It is said that a moth can hear the knitting of a wool sweater a mile away. The chafing of wool pant legs is like Mozart to them. Supposedly, a moth’s incredible auditory range helps them detect the high-frequency sonar used by bats for nighttime navigation. The moth’s superior hearing helps them avoid these predatory bats. But for some reason, the hum of a florescent light gets them every time. SFX: Bug zapper. Anncr.: It’s too bad moths aren’t opera fans. Their precision ears would serve them well. At the opera, they would hear musical highs and lows far more interesting than the inane banter of bats. However, it’s doubtful they’d even find their seats, because the distraction of the usher’s flashlight would be too hard to resist. Fortunately, you don’t need the hearing of a moth to enjoy the opera. Find out why at Lyric Opera dot org slash opera enough. Lyric Opera. Are you opera enough?

“End of Earth” :60 Anncr: You’re on a journey. Sailing across an immense sea. Then trekking across a vast, featureless plain. Over an enormous desert. Void of landmarks. No wind. No shadows. No sounds. And then, nothing. No sky above you. No ground below you. No dimensions. No horizon. But you continue on, and through the nothingness, you hear something. It’s music. Opera music. As you approach, it grows louder. Then a building appears. An opera house. You move closer. You pause. You look at the door. You go in. Thus, rejecting the theory that some people wouldn’t go to the opera even if was the last place on earth. To see and hear what those people are missing, visit Lyric Opera dot org slash opera enough. Lyric Opera. Are you opera enough? Mark Bruker/Luissandro Del Gobbo, writers Joe Sciarrotta, creative director Joe Griffin/Maggy Lynch-Hartley/Justin Moreno, producers Ogilvy Chicago (Chicago, IL), ad agency Lyric Opera of Chicago, client

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TELEVISION COMMERCIALS 1 “We Move” :60 “Most people use commercial breaks as a bathroom break. For many brands, that’s a problem. For Charmin, it’s the perfect opportunity. We found a way to get creative with our ad placements and hijacked commercial blocks with a self-aware message from Charmin. Every time our spot ran, we ensured that Charmin’s existing brand spot ran directly before it. This set up a perfectly meta treat for our audience that let Charmin own every bathroom break.” Eric Van Skyhawk, art director Jonathan Main, writer Jared Elliott, creative director Pete Johnson, executive creative director Brendan Gibbons, director Aaron Langley, editor Kate Sutherland, line producer Catherine Crowe, senior producer Michelle Towse/Maura Woodward, executive producers Hafeez Saheed, head of production Station Film, production company Cosmo Street, editorial company Nickelodeon Creative Advertising (New York, NY), ad agency Procter & Gamble Co., Charmin, client

2 “Unlock” :60 “As our hero unlocks her iPhone with Face ID, she discovers a sudden ability to unlock everything around her with just a look. Intrigued, she starts unlocking anything she can lay her eyes on. Running through her school, she opens lockers, desks and art cupboards, and even releases some trapped amphibians. If only everything unlocked as effortlessly as the iPhone X.” Dougal Wilson, director Joost van Gelder, director of photography Tom Harding, visual effects supervisor Jean-Clément Soret, colorist Joe Guest, editor Pete Cannon, music composer Anthony Moore, sound designer Factory Studios, sound design Barbara Healy/Donald Taylor, producers Ben Davies/Julie Evans/Diane McArter/Suzy Ramirez, executive producers Furlined (Santa Monica, CA), production company Final Cut, editorial company Felt Music, music company Moving Picture Company, post-production company Apple Inc., ad agency/client

3 “Father-In-Law” :30 “In this very awkward commercial, a young man quickly comes to regret his decision of having his father-in-law prepare his taxes instead of an expert.” Andrea Romanelli, art director Jon Taylor, writer Alexis Bronstorph/Kelsey Horne, creative directors Jeffrey Da Silva/Tom Koukodimos, executive creative directors Sid Lee (Toronto, Canada), ad agency H&R Block Canada, client

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TELEVISION COMMERCIALS 1 (series) “Eagles vs Panthers” :30 “Here, we find two jungle researchers announcing that for the first time in history, Panthers are going toe to toe with Eagles on the Amazon stream. Groundbreaking.” “Texans vs Steelers” :30 “In this film, we find a group of rowdy Texans and blue-collar Steelers battling on top of a gridiron in the middle of the Amazon stream. Two Amazon River police officers delight in the battle.” “Bear vs Packers” :30 “To advertise the first time the Bears and the Packers played an NFL game that was live streamed on Amazon, we simply witness bears and packers playing live on the Amazon stream for the very first time.” Jeff Dryer/Eric Stevens, creative directors Kevin Jones, chief creative officer Ryan Skubic, managing director, creative Andreas Nilsson, director Jeff Ferruzzo/Geoff Hounsell/Laura Sanford, editors Andrew Feltenstein/Jon Nau, music composers Jeff Payne, sound designer Eleven Sound LLC, sound design Laura Stayt, project director Jonathan Wang, line producer Jake Burnett/Kate Hildebrant/Ian Kelly, agency producers Leslie DiLullo, music producer Holly Vega, executive producer Scott Boyajan, visual effects producer Crystal Newberry/Jake Welch, project managers Rupert Samuel, head of production Biscuit Filmworks, production company Beacon Street Studios, music company Electric Theatre Collective, visual effects company Arcade Edit/Electric Theatre Collective, post-production companies CP+B (Los Angeles, CA), ad agency Lauren Abrams/Amanda Au/Mike Benson/Mike Chen/Jim Dantzler/Leigh Anne Gardner/Jean Ly/Nick Mejia/Greg Polcsa/Rob Rolfe/Allie Scheele/ Jenny Whitlock, Amazon Prime Video, clients

2 “Barbers” :60 “A couple of barbers are having a slow day—until one uses his iPhone to take a portrait of a customer’s new haircut and then hangs it up in the shop window. Everyone who sees the portrait can’t help but stop and stare, and soon, more and more customers flood into the shop, wanting their own fantastic new look. The story unfolds in a series of haircuts and portraits that happen in magical ways.” Rick Russell, editor Final Cut, editorial company Dougal Wilson, director Linus Sandgren, director of photography Tom Harding, visual effects supervisor Donald Taylor, producer Ben Davies/Julie Evans/Diane McArter/Eric McCaslin/Suzy Ramirez, executive producers Bill Kruse, visual effects producer Furlined (Santa Monica, CA), production company Moving Picture Company, post-production company Apple Inc., ad agency/client

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TELEVISION COMMERCIALS 1 (series) “Aim” :30, “Camp Songs” :30, “Bear” :30 “Last year, following a ten-year hiatus, we relaunched the Busch brand by bringing back the classic Busch can crack and introducing a new spokesman who embodies our drinkers’ values. This year, our spokesman returned to speak to us from the outdoor world of Busch and remind us that some things—like the crisp, cold refreshment of Busch—should never change. While other things clearly should.” Jim LeMaitre/Jonathan Mackler, writers Carla Butwin/Paul Elicker, associate creative directors Heather English/Marques Gartrell, creative directors Jeff Vinick, executive creative director Dan Kelleher, chief creative officer Pete Favat, chief creative officer, North America Joe Calabrese, integrated production director Crissy Cicco, executive agency producer Ashley Heisner, project manager Deutsch (New York, NY), ad agency Busch, client

2 “Sway” :90 “‘Sway’ is a story about the power of music to connect all of us. To take us out of our ordinary reality and transport us somewhere magical. The film aims to remind us what the holidays are all about: sharing special moments with the ones who mean the most. And that even in a world that sometimes feels cold and lonely, we all have the power to move someone.” Marcus Brown/Evan Schiller, associate creative directors Nick Ciffone/Dave Estrada, creative directors Greg Greenberg, group creative director Brent Anderson, chief creative officer Sam Brown, Imperial Woodpecker, director Franz Lustig, Imperial Woodpecker, director of photography Paul Hardcastle, Cosmo Street, editor Lime Studios, sound design Timory King, Imperial Woodpecker, producer Travis Roever, broadcast producer Doug Halbert, Imperial Woodpecker, executive producer Imperial Woodpecker, production company Cosmo Street, editorial company The Mill, visual effects company OMD Worldwide, media agency TBWA\Media Arts Lab (Los Angeles, CA), ad agency Apple Inc., client

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NON-TRADITIONAL ADVERTISING 1 Brent Piper, art director Bart Rippin, writer Hayes Henderson, creative director Stephanie Bailey, designer Ken Bennett, photographer Adam Nickel, illustrator Jill Carson, production designer Shana Atkins, project manager Gretta Kohler, print producer Wake Forest University (Winston-Salem, NC), ad agency/client “Forestry 101 is a welcome guide for all new students at Wake Forest University. It was designed to walk them through everything they need to know and do before school starts, and to provide an early sense of their new home in way that can help take the edge off such a big transition. The tone, imagery and much of the content makes students feel like Wake Foresters before they arrive.”

2 Mike Reese, art director Ant Tull, writer Monika Hoang/Matt Keck/Dorado Quick, senior writers Archie Davis/Jordan Gray, creative directors Allison Pierce/Pat Piper, group creative directors Chris Corley/Aaron Evanson, executive creative directors Debbi Vandeven, chief creative officer John Godsey, chief creative officer, North America Six Course Inc., creative contributor Annie Gerker/Melissa Golden/Erica Hudson/Marissa Kandel/Ryan Kefer/ Jen McDonald/Zach Mendenhall/Christina Miller/John New, project managers Laura Picicci, program manager Jeremy Cline/Bret Smith, planners Ketchum/Spark Foundry, agencies VML (Kansas City, MO), ad agency Jimmy Bennett/Kurt Kane/Carl Loredo, Wendy’s, clients “Wendy’s Twitter is known for its sassy tone, and we wanted to see if that voice would translate beyond Twitter. We produced a mixtape launching our Twitter handle as an official recording artist, featuring tracks that took shots at the competition and referenced tweets that were sent from @Wendys. The tracks were released organically on all major streaming platforms, and the launch tactics were consistent with tactics that other up-and-coming rappers have utilized in album launches.”

3 Emmanuel Obayemi, art director Arjang Esfandiyari, writer Allan Topol, creative director Paul Wallace, executive creative director Duncan Collis, designer Remie Geoffroi/Fluorescent Hill/Emmanuel Obayemi/James Tuer, illustrators Jordan Kentris, information architect Steph Joudrey/Zak Usher, strategists Mary Manale/Lorrie Zwer, agency producers Wes Schyngera, digital producer Andrew Brennan/Gavin Gillespie/Mary Manale, print producers DDB Canada (Toronto, Canada), ad agency Metrolinx, client “A book on public-transit etiquette co-created with the help of publictransit riders. Part of the ongoing #EtiquetteFail campaign.”

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NON-TRADITIONAL ADVERTISING 1 Maxime Sauté, art director Xavier Blais, writer Ian Grais/Nicolas Quintal/Chris Staples, creative directors Maxime Valsan, director of photography David Poulin, director Pascal Routhier, strategist Alexis Dubosc, producer Nova Film, production company Cortex Studio, post-production company Touché!, agency Rethink (Toronto, Canada), ad agency FGL Sports Ltd., client “We created the first discount based on people’s body heat. A machine was custom-designed for Montréal’s steepest metro station. A thermographic camera was paired with a body-heatanalyzing algorithm showing passersby their heat signature in real time. The machine analyzed the heat repartition and crunched it into a global percentage that matched to an equivalent discount percentage at Sports Experts. Simply put: the more you sweat, the more you get.”

2 Franki Geib, art director John Claxton/Kate Cullen, writers Bruno Mazzotti/Dean Paradise, creative directors Jon Flannery/Max Geraldo, executive creative directors Fred Levron, FCB Global, worldwide creative director Liz Taylor, chief creative officer Michael Chesta/Erik Christianson, web designers Nadav Kurtz/Matt Walsh, Cutters, editors Peter Zachwieja, Cutters, assistant editor Alec Chojnacki/Jason Ryan/Batsirayi Zesaguli, Lord + Thomas, sound engineers Heather Richardson, Cutters/Stephanie Rose, Cutters/Carolina Sierralta, producers Julie Regimand, Lord + Thomas, print producer John Bleeden, executive agency producer Alex Bartczak, Lord + Thomas, post-production producer Cutters/Lord + Thomas, production companies FCB Chicago (Chicago, IL)/FCB Global, ad agencies Getty Images, client “On World Water Day, we transformed Getty Images’ iconic asset, the watermark, and used it to tackle the water crisis. By removing the watermark, you could remove impurities from unclean water. We leveraged the licensing process on the Getty Images site so that when someone purchased one of the images with the special watermark, a portion of the proceeds went to charity: water to help build water wells for communities in need.”

3 Jonathan Baudet-Botella, art director Olivier Aumard/Céline Mazza, writers Antoine Choque, creative director Rémi Babinet, chief creative officer Céline Mazza, strategic planner Julien Levêque, strategist Demon, music Benoît Ferran, project design and development Franck Annese, A//SO/Karine Manzic, producers A//SO, production company BETC (Pantin, France), ad agency Lacoste, client “For the first time in Lacoste’s history, a change of the iconic crocodile logo was initiated. But we’re not talking about rebranding— the Lacoste crocodile made way for ten threatened animals in a collection of extremely limited edition polo shirts. For each species, the number of polo shirts corresponds to the number of animals known to remain in the wild, as estimated by International Union for Conservation of Nature experts.” Communication Arts | commarts.com

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NON-TRADITIONAL ADVERTISING 1 Sally Franckowiak/Stacie Larsen, art directors Mark Donnelly/Gabe Long, writers KK Apple, senior writer Jason Ambrose/Greg Hunter, creative directors Graham Douglas, executive creative director Rob Baird, chief creative officer Ryan Hicks/Nate James/Taryn Kealani/Lindsey Willis, designers Kenny Coil/Zack Davenport/Steven Wimberley, lead designers Courtney Horwitz/Meegan Moore, project directors Megan Knight, agency producer Julie Bergstein/Niko Brown, senior producers Derick Rhodes, executive producer Sarah Kerry, executive agency producer Krystle Loyland, chief executive officer Zach Tavel, project design and development Preacher (Austin, TX), ad agency Vimeo, client “In 2008, Vimeo quietly launched its Staff Picks channel. To celebrate ten years of Staff Picks at South by Southwest, we created the Decade, a fully immersive theater experience dedicated to the most-iconic Staff Pick films. From a custom marquee to animated film posters to an interactive lobby and themed concessions, we left no detail untouched as we paid homage to the creators. In addition to screening more than 100 short films, we transformed nine rooms into experiential theaters bringing iconic Vimeo Staff Pick favorites to life. Theatergoers attended behind-the-screen panel sessions from Staff Pick veterans and ended each night dancing to music from Vimeo favorites.”

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NON-TRADITIONAL ADVERTISING 1 (series) Alison Korth, art director Justin Chandra/Ryan Velasquez/Nadine Zylberberg, writers Ford Oelman, creative director Drayton Benedict/Rosalyn Hummel, creative contributors Ed Wu, director of photography Brendan Baz, typographer Justin Chandra/Jonathan Hensley, editors Justin Chandra, sound design/visual effects producer Justin Chandra/Ryan Velasquez, directors Laura Goldsmith, stylist Kelly Fallon, production designer Richard King, production manager Danielle Evenson/Ryan Velasquez, producers Nadine Zylberberg, associate producer Academy of Motion Picture Arts and Sciences (Beverly Hills, CA), ad agency/client “Production Design” :30, “Visual Effects” :27, “Makeup and Hairstyling” :35 “These vignettes were used to introduce select categories during the 90th Oscars Nominations Announcement. Featuring Academy members Gal Gadot, Michelle Yeoh, Rosario Dawson and others, they unpack the craft of filmmaking for even the most casual movie fan.”

2 Matt McNary/Jake Scovell, art directors Patrick Farrell, writer Grant Minnis, creative director Derek Anderson, group creative director Aaron Evanson, executive creative director Debbi Vandeven, chief creative officer John Godsey, chief creative officer, North America Bray Addison, editor Chad Martin/Kara Nelson/Abbie Schmid, project managers Emily Dore, planner Freddie Wise, print producer Michael Kinney, senior producer Endeavor/Haworth Marketing + Media, agencies VML (Kansas City, MO), ad agency Melissa Christian/Ryan Eckel/Kristen Garmey/Jacque Skowvron, DICK’s Sporting Goods, clients “Endurance athletes live for extreme challenges. And Second Skin, a new maker of athletic wear, needed to get their attention. So, we went to the extreme and created the 100-lb. coupon. Athletes earned their 100-lb. coupons by following clues on Instagram Stories. However, the hardest part wasn’t finding them. It was redeeming them. Because each athlete had to lug her or his 100-lb. coupon back to a local DICK’s Sporting Goods to cash in.”

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STUDENT WORK 1 Yerin Kim/Hyei Min Park/Woo Jae Yoon, art directors Bryan Barnes/Callil Capuozzo/James Kuczynski, instructors School of Visual Arts (New York, NY), school “Children often imagine all sorts of scary monsters hiding in furniture, making it difficult for them to fall asleep. IKEA, a brand that believes children are the most important people in the world, introduces Tittut. This mobile app helps children overcome these fears by sparking their imagination, turning their fearful nights into playful bedtime experiences.” © Yerin Kim/Hyei Min Park/Woo Jae Yoon

2 Chris Petersen, art director Seth Mollerup, writer Bentley Rawle, director of photography Jeff Sheets, instructor Brigham Young University/BYU AdLab (Provo, UT), school “Pests Do Not Mess with the Orkin Man” 3:15 “The Orkin Man takes pests head-on while singing and dancing through the neighborhood in this charming musical.” © Seth Mollerup/Chris Petersen

3 Nadja Götze, art director Christian Schilling, writer Floyd Fürstenau/Robin Harff/Annika Osterrieder/Lena Pfeiffer-Weiss, designers Alexander Wolf David, artist Tim Weskamp, photographer Maximilian Baule/Justin Braun/Ernst Lattik/Christian Schilling, videographers Acht Hamburg GmbH, animation Christian Arnold/Sophie Lotsch, project design and development Filmakademie Baden-Württemberg (Ludwigsburg, Germany), school “The Man With A Coin” 1:25 “Felix is unhealthily indecisive; that’s why he flips a coin before every decision. But when he stands in front of a vending machine, he doesn’t flip his coin. For the first time in his life, he decides on his own. He puts his holy coin into the vending machine and enjoys a Mentos Duo.” © Christian Arnold/Floyd Fürstenau/Robin Harff/ Ernst Lattik/Sophie Lotsch/Christian Schilling/ Tim Weskamp

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STUDENT WORK 1 Taylor Dahl/Faith Ivory, art directors Abby Christensen/Ryan Schade, writers Chris Petersen, illustrator Scott James, director/producer Jeff Sheets, instructor Brigham Young University/BYU AdLab (Provo, UT), school “Ride To Fly” 1:45 “You ride a Vespa to go beyond what is expected—you ride to fly. Feel the experience in this paper puppet/ animation show.” © Abby Christensen/Taylor Dahl/Faith Ivory/Scott James/Chris Petersen/ Ryan Schade

2 Hannah Campbell, art director Wilsynn Wheat, writer Jedediah Thunell, director Bentley Rawle, director of photography Parker Hadley, editor Jeff Sheets, instructor Brigham Young University/BYU AdLab (Provo, UT), school “Vivint Solar: Earth Day” 1:45 “Leaving the planet is hard, but saving the planet through our actions is easy. Happy Earth Day.” © Hannah Campbell/Parker Hadley

3 (series) Yuxin Xiong, art director Kevin B. O’Neill, instructor Syracuse University, S.I. Newhouse School of Public Communications (Syracuse, NY), school © Yuxin Xiong

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STUDENT WORK 1 Andrea Baridon/Dexter Griffiths, art directors Agustina Lavignasse, writer David Uribe, instructor Miami Ad School (Miami, FL) school “Data shows that on Valentine’s Day, millennials are more likely to purchase an experience than a physical product. So, we combined the best activities to share with your significant other with the best match of Gap’s latest collection. Introducing What Love Can Do.” © Andrea Baridon/Dexter Griffiths/Agustina Lavignasse

2 Scott McIntosh/Chris Petersen, art directors Seth Mollerup, writer Jeff Sheets, instructor Brigham Young University/BYU AdLab (Provo, UT), school “I’ll Be There” :60 “By bringing the voice-over from the Grapes of Wrath soliloquy to life through animated newsprint, we reminded others of the role of the New York Times and the power of a free press.” © Scott McIntosh/Seth Mollerup/Chris Petersen

3 Huiwen Ong/Yuran Won, art directors/writers Frank Anselmo, instructor School of Visual Arts (New York, NY), school © Huiwen Ong/Yuran Won

4 (series) Donghoon Lee/Kristin Mizushima, art directors Minkyung Kim, writer Nelson Carnicelli, instructor Hanyang University/Miami Ad School (San Francisco, CA), schools © Minkyung Kim/Donghoon Lee/Kristin Mizushima

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STUDENT WORK 1 Ela Kallonen/Junggle Kim, art directors Cristina Márquez/Maddie Rosenberg, writers Jerrod New, instructor Miami Ad School (Brooklyn, NY), school “With new facial-recognition technology, Apple will be able to catch early warning signs of stroke.” © Ela Kallonen/Junggle Kim/Cristina Márquez/ Maddie Rosenberg

2 Lobsang Wangchen, art director/designer/ instructor Xavier España Fernandez, writer/creative director Escuela de Creativos (Mexico City, Mexico), school © Xavier España Fernandez

3 (series) Joe Chong/Mo Ku, art directors/writers Frank Anselmo, instructor School of Visual Arts (New York, NY), school © Joe Chong/Mo Ku

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FRESH AUNDRE LARROW

Aundre Larrow captures moments in the here and now. “I focus on listening to my subjects and creating art around the energy they give me,” he says. Like a master interviewer, this photographer steadily honed his art. After studying journalism at the University of Florida, where he photographed events for the college newspaper, he worked for a music streaming service. Eventually, New York City called. “When I got there, I reached out to artists through Instagram to learn about how they work, what their habits are and how they got their first jobs,” he says. More photography opportunities followed, and in 2017, he began a new chapter in his life, as an Adobe Creative Resident. During the yearlong residency, he traveled around the United States, taking portraits of strangers—and their stories—for his series Stories From Here. Today, Larrow is based in Brooklyn, often shooting on location with natural light—the better for throwing his subjects into sharp relief. aundrelarrow.com

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1. “Portrait of JJ Tupas, a longtime Golden State Warriors fan, at his Cut to Contrast Barbershop.” Summer Wilson, creative director; Adobe Creative Cloud/ Golden State Warriors, clients. 2. “New York City Ballet dancers Ashley Hod and Daniel Applebaum perform on the patio of the Whitney Museum of American Art on a chilly winter morning.” #CamerasandDancers/New York City Ballet/Whitney Museum of American Art, clients. 3. Portrait of Morgan Fletcher. “Being seen means having my humanity acknowledged and being accepted for both my best parts and my messy human parts.” Adobe Creative Cloud/Apple Inc., clients. 4. “Classically trained ballet dancer Emily Kikta takes a breath between movements in an empty dance studio.” #CamerasandDancers/New York City Ballet/Whitney Museum of American Art, clients. 5. “Portrait of visual artist Jessica Zollman as she walks her dog, Dagger, in Los Angeles.” Adobe Creative Cloud, client. 6. “Comedian Hannibal Buress ‘prays’ before his set at the Brooklyn Academy of Music Howard Gilman Opera House.” Rhea Daniels, Brooklyn Academy of Music, client.

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FRESH FRANZISKA BARCZYK

A row of unblinking eyes. A crumpled mouth. A ray of buttery yellow. Such bold forms merge in Franziska Barczyk’s Dadaesque collages, exhibiting her knack for creating art greater than the sum of its parts. Barczyk’s own career melds impactful experiences— a start at magazines enRoute and Nylon, an internship with Edel Rodriguez, a gig as Christoph Niemann’s studio assistant—into a complete whole. “Being in a studio with full-time illustrators, such as Christoph and Edel as well as my sister Hanna, made me realize that being an illustrator is possible,” says Barczyk, who formerly worked as a designer and art director. Today, the Toronto-based artist whips up layered collages and colorful illustrations for the New York Times and other clients, sometimes adding a spark of motion. “The combination of illustration, collage and moving images enables me to develop an idea in a matter of seconds to create a story,” she says of her growing body of animated GIFs and video collages. fitza.me

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1. “For the New York Times Gender Letter newsletter ‘The #MeToo Moment: What’s Next?’” Andrew Sondern, art director; The New York Times, client. 2. “Personal piece exploring shapes, limitations and chance.” 3. “Personal piece from my sketchbook.” 4. “For ‘Pride guide,’ Susan Goldberg’s article for business and society magazine Corporate Knights, about how corporate Canada is welcoming LGBTQ workers.” Jack Dylan, art director; Corporate Knights, client. 5. “For Our President Was Called Barack, Laura Olin’s children’s book inspiring kids to create change.” Laura Olin, writer/client. 6. “For the New York Times Gender Letter newsletter ‘The Culture Is Changing. Cosby is Proof.’” Jessica Bennett, art director; The New York Times, client. 7. “Personal piece exploring the feeling of calmness.” Communication Arts | commarts.com

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FRESH STOUT

When Brian Gunderson and Ryan Meis founded Stout, they merged the artistic experiences they’d had outside the walls of a traditional design firm. Gunderson, who worked at Goodby, Silverstein & Partners, finds inspiration in the design culture of Minneapolis. Meis, who loves illustration and midcentury design, worked with Gunderson at Goodby before leaving to focus on Lab Partners, the illustration studio he runs with his wife, Sarah Labieniec. Then, in 2013, magic happened. “Stout came about as a fusion of our own paths and experiences—creating this brewing cauldron of design, advertising and illustration,” they say. American Express, IBM and Uber are some of the brands that have made the most of this San Francisco design firm’s elixirs. Whether the brief is for a series of print ads or packaging, Stout’s philosophy boils down to one question: “Is there something bold—maybe a color, the type, the message or the material—in the work?” The studio always finds fresh ways of answering yes. stoutsf.com

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1. “Packaging for Evernote’s Pfeiffer Collection, a series of desktop vessels that help organize your work life.” Brian Gunderson/Ryan Meis, designers; Evernote, client. 2. “A set of posters promoting safe work practices within the data centers of a local technology company.” Ryan Meis, designer/illustrator. 3. “Illustration style and system development for the relaunch of the Uber brand.” Shalin Amin, Uber/Ryan Meis, Stout, creative directors; Ryan Bosse/Ross Bruggink/Brian Gunderson/Ryan Meis, illustrators; Uber, client. 4. “From a series of ads showcasing case studies for IBM’s Outthink campaign.” Ryan Bosse, designer; Keith Anderson, Ogilvy/Brian Gunderson/Steve Simpson, Ogilvy, creative directors; Ogilvy, ad agency; IBM, client. 5. “From a series of ads highlighting the joy of traveling with an American Express Platinum Card.” Brian Gunderson, designer; Keith Anderson/Mark Sikes/Steve Simpson, Ogilvy, creative directors; William Abranowicz, photographer; Ogilvy, ad agency; American Express, client.

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ENVIRONMENT

Monica Kass Rogers

Putting a Human Face on Climate Change

Geologist and photographer James Balog’s most recent project, a �lm called The Human Element, explores the four elements—earth, air, water and �re—to reveal how environmental change is affecting everyday Americans. In an unusual move, Balog used still images in the cinematic work, “to give the eye and heart pause, allowing the aesthetics of those images to soak in more richly than if people were just watching a motion picture go flashing by.”

cademy Award–winning filmmaker and photographer Louie Psihoyos remembers the sky that day: endless, clear blue and hot as blazes. In the Gobi Desert with Michael Novacek, provost of science at the American Museum of Natural History, Psihoyos was photographing the remains of dinosaurs and early mammals for four National Geographic stories on mass extinctions. “You couldn’t walk 50 feet without seeing more bones,” he recalls. “Even though I knew it was a meteor that caused this, standing there in that atmosphere, I couldn’t help but think, ‘Good God, these creatures were so prolific, so dominant. How could this happen?’ Then Novacek turned to me and said, ‘We are in the middle of a mass extinction right now. By the end of this century, the environmental crisis that modern man is creating in the natural world will rival the meteor that wiped out these dinosaurs and obliterated 75 percent of life on the planet 65 million years ago.’”

The impact of that statement galvanized Psihoyos. “I thought, in relationship to the natural world, mankind is the meteor. Ever since that day, I’ve focused my energy and camera work on reversing our impact on the natural world,” he says.

Mittermeier explains that when she set out to start the International League of Conservation Photographers—a nonprofit to group these artists and an avenue to garner public support for their work—the title “conservation photographer” didn’t exist. Photographers such as Michael “Nick” Nichols and James Balog had been doing the work for decades, but “everybody just called themselves nature photographers,” Mittermeier says. The issue, she says, was that this lumped people who were “shooting flowers and butterflies in their backyards with people like Nichols, who was traveling 2,000 miles across the rainforests and savannahs of Africa to document the trails of forest elephants in order to create national preserves for them. There’s a huge difference.” So, Mittermeier published a peer-reviewed paper in the International Journal of Wilderness designating conservation photography as a new discipline in the photographic arts. It has elements of photojournalism, advocacy and fine art.

Psihoyos is part of a fierce, growing cadre of photographers who are using the camera as a powerful tool to educate, enlighten, engage

Separately, conservation photographers hone in on different pieces of the same puzzle, telling the stories they feel most passionate

In short, Novacek said, “We have become Vishnu, destroyer of worlds.”

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and incite action. Some call themselves “environmental photographers,” others “photojournalists.” But the most fitting title is “conservation photographer,” a moniker photographer Cristina Mittermeier created in 2005 to distinguish between “nature” photographers who capture landscapes and wildlife for their beauty alone, and photographers who make art to tell the story of a planet in the midst of radical change.

Advertising Annual 2018

Biophysicist, writer and photographer Arati Kumar-Rao has been telling the story of changing freshwater landscapes in India and Bangladesh. Her photographs of an oil tanker spill in the Sundarbans—the largest unbroken stand of mangroves in the world, and the delta protecting Bangladesh from rising sea levels—are part of the work she is doing for a book tentatively titled Landscapes of Loss.

about. Together, they are putting a human face on climate change so the general public can no longer say, “It’s not my problem.” Many conservation photographers have scientist roots—Mittermeier, for example, is a marine biologist; Balog, a geologist; and Arati Kumar-Rao, a biophysicist. And because of the importance of documenting global changes accurately, many work closely with scientists. But all say that art is a much more powerful tool to communicate the urgency of climate change issues than science alone. “It took the combination of science with art—photography and films—to do that,” says Balog, well known for his time-lapse photography capturing glacier melt, as shown in the film Chasing Ice. His latest film, The Human Element, moves beyond icy landscapes to grippingly show human beings in environmental crises—dealing with fires, floods, hurricanes and more. “Facts and quantitative analysis weren’t enough on their own,” Balog says. “And while art and science can reveal the issues, it’s up to the heart and soul to resolve them.” Despite differences in locale and subject, the challenges for Balog and his fellow conservation photographers are the same. Funding is one of the biggest. The visual stories that need telling take a long time to capture, and travel to remote locations is very expensive. Slovenia-based photographer Ciril Jazbec, who has built close ties with Inuit families in Greenland, documenting global warming’s impact on their lives in a book, online and in National Geographic, has won grants to fund some trips to the Arctic, but takes commercial assignments to help cover costs. Kumar-Rao, whose photos tell tales of environmental degradation along India’s freshwater trail— a long-term exploration of the Ganga-Brahmaputra basin—is doing her work through a private donor. Psihoyos, Mittermeier and Balog all created nonprofits—the Oceanic Preservation Society, SeaLegacy and the International League of Conservation Photographers, and the Earth Vision Institute, respectively—to garner support for the huge issues they are tackling, which helps fund some of the photographic work. But it’s not enough.

“I believe we are losing the war on the environment because we don’t have the funding we need to go out and tell these stories visually,” says Mittermeier. “If you look at the places from which the money comes, such as foundations and individual sponsorships, it is very difficult to raise money for visuals because they are seen as entertainment. There’s been a lack of recognition that communicating on the scale that is needed on these issues is paramount to actually creating a solution.” Most conservation investment goes to science, which is important, she says, “But so little has gone to funding conservation photography and films like The Human Element, Racing Extinction and Chasing Coral.” Therefore, Mittermeier says it’s important for photographers to become influencers and brands. “If you try to make a living in the old format, selling stock images and looking for the individual assignment, you will starve,” she says. “You have to become an influencer in your own right. And everything is aligned to let you do that. Until four or five years ago, if you wanted to share anything with the world, you had to sit down with a photo editor of National Geographic and compete with another 100 photographers to get pages in the magazine. That’s no longer the case. Today, you can post photos and stories on Instagram that will be viewed across the globe every day. If you tell your story well with powerful photos, companies will want to work with you. That’s how I make my living.” Mittermeier is very careful about what companies and individuals she aligns with, and she spends a lot of time building the relationships that lead to good fits. She adds that “making a living” as an influencer comes through in ways other than advertising on a “channel.” It comes through in invitations to speak at corporate events and appear in videos. It also attracts partners who see the value in the huge microphone an influencer has—and that can lead to the funding of expeditions and projects. Still, even if the messages they post are powerful, photographers have to face public apathy and a lack of education. “The more I read comments on the photographs I post and the more I talk to people, the more I understand that there is a widespread Communication Arts | commarts.com

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ENVIRONMENT

Photographers Cristina Mittermeier and Ciril Jazbec have been documenting the lives of the Inuit who live in Greenland, the location of one of the world’s largest and fastest-melting ice sheets. The Inuit have a culture of ice hunting that has prevailed for thousands of years. With their icy ecosystem now in collapse, the Inuit are struggling to survive. Jazbec considers his portrait of Albert Lukassen standing on an ice flow (left) to be his most iconic yet. It is from his ongoing series On Thin Ice. Mittermeier’s portrait (right) is of David Serkoak, also known as Hiquaq, the �rst Inuit drummer to reach the North Pole.

lack of education when it comes to the ecology of our planet and how it works,” says Mittermeier. “So many people are completely unaware that the melting of the polar reaches is going to have a direct impact on their lives.” To combat this, Mittermeier says it’s important to add detailed captions to Instagram posts. “You have to connect the dots for people. If I show a picture of an animal suffering because of global warming, I add enough bits of ecological information to ensure people understand that what’s happening to that animal will soon happen to them.” For Kumar-Rao, who relocated in 2012 to photograph environmental degradation in her homeland of India, audience apathy is especially acute. “The world at large is inured to seeing images of human suffering, especially in India,” she says. “Unfortunately, the way climate change works, it is going to affect huge numbers of the small, poor, brown people that a lot of the world already ignores. I can post a photo of an elephant and get a huge response, but then post a photo of a suffering Bangladeshi and get so little.” Nonetheless, Kumar-Rao and the others in this story say it’s crucial to include photographs of people from many different communities that are in climate crisis, not just animals and landscapes. “You can’t divorce one from the other,” she says. “All are being affected, and we must show all of this to help people see that all are linked.” “Science shows that people don’t change behavior based on what they know,” explains Psihoyos. “They change based on what they feel. So if you go in with a camera and show someone going through [environmental] strife, then you start to feel something, start to have an emotional attachment to the story. Suddenly it’s relatable— there is emotion, and there can then be action.” For example, Kumar-Rao’s photographs of mangrove trees covered in oil from a tanker spill are tragic. Her photographs of young men covered in oil trying to clean the toxic mess, unignorably so. 180

Advertising Annual 2018

To win enough hearts, photographers say they are constantly sussing out how to speak effectively to people who are not yet supporters of environmentalist causes. “You only need 10 percent of the population to respond to an issue to bring social change,” says Psihoyos, citing research from the Rensselaer Polytechnic Institute. “But to find that 10 percent, you can’t just preach to the choir. You need to find a way to reach a wider audience.” Mittermeier says one effective way she and SeaLegacy do this is to guest post on Instagram accounts that are sympathetic to their mission. “Skier Lindsey Vonn, musician Bryan Adams and many others support our cause. You use the influence of other public figures to expand your own,” she says. Take the image of an Inuit hunter and his sled dogs, who are suffering from glacier melt, that Mittermeier posted on the United Nations Foundation’s Instagram account as the 23rd Conference of the Parties was meeting in Bonn, Germany, in 2017 with a mandate to halt global warming. The aim was to get viewers to join in a global call to fill Instagram feeds with powerful climate messages, with the hashtag #eyeonclimate and a link to @sea_legacy. The photo racked up 956 likes. Creative ideas for cutting through media noise and clutter are also crucial. After decades of photographing for National Geographic and other leading publications, Psihoyos became a filmmaker, creating The Cove, Racing Extinction and, coming this winter, The Game Changers. When Psihoyos conceived the idea for doing projections of iconic conservation photography on the Empire State Building, using images from his documentary Racing Extinction, people told him it was a crazy idea destined to fail. “But the night we did this,” he says, “Fifth Avenue looked like the Easter parade. Kids were sitting on cars, thousands of people hit the sidewalks and rooftops, and they all had cameras on their cell phones.”

To let the world know what is at stake if climate change continues apace, photographer and filmmaker Louie Psihoyos has been lighting up iconic buildings with projections of imagery of endangered species. Psihoyos says that projection events at the Vatican (left) and the Empire State Building (right) were “the warm-up act for bigger projections we have planned.”

The three-hour show, which took place in 2015, featured still photography from Balog, David Doubilet, Shawn Heinrichs, Jeff Orlowski, Joel Sartore and more. The event became a trending story on Facebook and Twitter. “We had 939,000,000 million media views in five days,” says Psihoyos. “We thought we couldn’t get any more successful than that.” And then the Pope called. Another 225,000 people and more than 600 media representatives saw the event live in St. Peter’s Square, and it reached an estimated 4.4 billion more through social and traditional media. But even with those numbers, says Psihoyos, “You have to ask yourself, what did all that actually do?” One action that came in the wake of the Racing Extinction building projections? In 2016, politicians in the United States created a legal firewall to prevent about a dozen of the most endangered species from entering western ports. The impact of a body of photographic work can be hard to quantify. Success looks different for each project. A viral image is one achievement; using that image to get the public to respond to a cause with signatures on petitions, monetary contributions to nonprofits or letters to politicians is another. Mittermeier cites success with photographically anchored campaigns, such as a 2017 campaign designed to stop the use of large-scale drift nets, which have been killing sharks, dolphins and other marine animals off the coast of California. “SeaLegacy posted images of net-entangled swordfish and sharks with explanatory captions on its website and collected 115,000 signatures that were presented to the California senate,” she says. Recently, California’s US senators, Dianne Feinstein and Kamala Harris, helped introduce a bipartisan bill to phase out the use of these drift nets in all US waters by 2020. Perhaps the greatest win is creating images that educate and incite without being overwhelmingly depressing or defeatist. “It’s a balance,” says Mittermeier. “Most of my photographs are hopeful and beautiful with a narrative of ‘let’s aspire to a better

future.’ But if you look at National Geographic’s top ten images of all time, two of my images are there, and there is nothing beautiful about either of them. One is of a starving polar bear, and the other is of a mandrill monkey that is being burned alive for the food trade in Africa.” An estimated 2.5 billion people saw Mittermeier’s starving polar bear image. Footage of the bear—taken by Mittermeier’s partner, Paul Nicklen—is the most widely viewed video in the history of National Geographic. And media coverage made the polar bear’s plight one of the most widely published stories on climate change in 2017. There was also a huge controversy due to misinformation that was published around the images. With “the face of climate change” in a headline, a literal line was drawn between the polar bear and climate change, overshadowing an important narrative— it was impossible to say for certain why the bear was dying. “But, despite all that, for a brief moment in time we had the world talking about climate change,” says Mittermeier. “For me? That image was an invitation to the world to really see what the future is going to look like if we don’t act.” Giving people the chance to participate in solutions builds hope. “Martin Luther King Jr. did that with his speeches,” says Mittermeier. “If you study ‘I Have a Dream,’ you realize that it is the perfect template for making positive change. That’s what I try to do with my photography. Instead of just showing people that we’re fucked, I want to give them a way to get to the better place. To have hope through action.” Maintaining hope for the viewer is important, but it is also crucial for the photographers themselves. For years now, Psihoyos has signed his name with the tagline “Action is the antidote to despair,” a quote from writer Edward Abbey. “The camera,” says Psihoyos, “whether it’s a still camera or a video camera, is still the most powerful weapon in the world—a weapon of mass construction.” ca Communication Arts | commarts.com

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CREATIVITY

Joe Shepter

Interactive Stories on the Brink

Scenes from Google Spotlight Stories’ “Piggy” (left) and “Pearl” (right). Directed by Jan Pinkava and Mark Oftedal, “Piggy” features a pig that responds to the viewer’s gaze as it is being tempted by a cake. The Emmy-winning, Oscar-nominated “Pearl” was directed by Patrick Osborne. Set in a hatchback, it is about a father and a daughter who chase their dreams. At the time of its release, “Pearl” broke new ground for Spotlight Stories in both storytelling and technology, with the most shots, sets and characters, along with custom lighting, effects and interactive surround sound in every shot. The short is anchored by the original song “No Wrong Way Home,” written by Alexis Harte and JJ Wiesler.

o matter how you view it, and we’ll get to your options in a moment, “Pearl” is a charming animated short. It places you in the passenger seat of a car, as you watch a man and his daughter drive across the country, following their musical dreams. When seen on YouTube, it tells a straightforward story that’s both touching and satisfying. But “Pearl,” which was directed by Patrick Osborne and produced by Google Spotlight Stories, is anything but straightforward. First, it was primarily made for virtual reality (VR), not video. And if you watch it multiple times in that format, you’ll notice that the events change depending on where you look. That’s because “Pearl” is an interactive story—one in which the user helps determine the flow and outcome of the narrative. In the interactive story community, “Pearl” is not only one of the best-known productions, but also one of the most controversial. The problem is that you can experience it for the first time without realizing you’re making choices about how the story unfolds. Is a story truly interactive if the people controlling it don’t know they’re doing so? The interactive story world bristles with such controversies, and always has. People have been arguing about the genre long before there was much to argue about. Some believe vaudeville marks its beginning. Others see it as a digital phenomenon that began with

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1960s-era computer stories. Academic departments on “computational storytelling” were launched in the 1990s, dissecting everything from choose-your-own-adventure games like Zork to hypertext novels on CD-ROM. And the dividing line between games and stories is a source of endless wrangling. Today, however, the debates are fading into the background, as a new wave of creators has taken the field. Their work has filled museums, invaded festivals, shown up on TV and even dropped onto our phones. VR experiences are drawing long lines at festivals and amusement parks. And successful interactive productions like Punchdrunk’s Sleep No More have even had lengthy theatrical runs. Rather than trying to nail the genre down, then, it’s probably best to think of interactive stories as fitting into a continuum of narrative approaches, each as valid as the next. At one end, artists are trying to create traditional, movie-like experiences with strong characters and emotional effects. At the other, people are creating stories that are shaped by everything from individual user input to collective audience data. Some don’t even seem story-like at all. Google Spotlight Stories is probably one of the best places to find the traditional approach. Under the guidance of Pixar veterans Jan Pinkava and Karen Dufilho, it is providing advice, financing and technology to creators from a wide range of disciplines, including live theater and traditional filmmaking. Together, they are trying to

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CREATIVITY

Up to four people can join together in “Coco VR” (left), by Pixar and Magnopus, to explore the world from the �lm Coco. Webby Award–winning transmedia project The Trip, by creative duo The Kissinger Twins, is about a faked moon landing. Combining an online interactive film, a short cinema film, a concept album and a large-scale photographic series, The Trip also includes a storytelling experience on Instagram (right).

not only tell great stories, but also solve the technical and structural problems associated with audience attention and story flow. Their recently released “Piggy,” for example, is an interactive comedy, in which a jogging pig passes a cake. Every time you look away from the pig, it tries to steal the cake. Catch it doing so, and it looks sheepishly at you. “Timing is everything in comedy,” says Pinkava. “But here, the time frame is not fixed and depends on where the audience is looking.” On the far other end of the spectrum, you can find popular VR experiences created for movies, like the stunning “Coco VR” from Pixar and Magnopus. It allows friends to explore the film’s mythical Land of the Dead together. They can walk around on foot, take a gondola ride over the city skyline and meet characters in locations from the film. “Coco VR” does not direct user attention anywhere. It doesn’t have a narrative arc, but still makes for a magical experience. Is that a story? It depends on who you ask. “It’s my opinion that storytelling in VR does not have to be about telling users where to look and where to go in what order,” says Kalan Ray, development supervisor at Magnopus. “You can use things that are uniquely available to VR instead to make storytelling better.” In addition to different approaches, interactive stories come on a bewildering range of platforms. To help make sense of them, Kamal Sinclair, director of Sundance Institute’s New Frontier Lab Programs, recently made an extensive survey of technology-based art and storytelling through a commission from the Ford Foundation. She interviewed more than 100 practitioners and reviewed more than 1,000 articles on the topic. In the end, she identified at least 21 subgenres, ranging from the obvious, like VR and augmented reality (AR), to the most avant-garde, such as artificial intelligence (AI)–driven and even olfactory experimental narrative (yes, you read that correctly). 184

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“A story doesn’t have to be linear or even have an author,” explains Sinclair. “But it should create a journey experience. Whether there is one possible outcome or 400, at the end, you should be taken through an arc of some kind.” With all that in mind, it’s probably best to meet a few practitioners. If you’re new to the genre, a great place to start is the Kissinger Twins’ The Trip. Made by Kasia Kifert and Dawid Marcinkowski, it is an interactive fantasy about faking the moon landing that appeared on the web, Instagram and as a mobile app. What made it successful? For one thing, the two sourced a huge amount of found footage and knitted it together with an appealing narrative. The subject matter, as faux documentary, is also well suited to an exploratory format. And it’s just plain interesting. Even if you’re not a conspiracy theorist, Kifert and Marcinkowski do a good job of presenting the main character and imagining what a faked moon landing would have involved. Another successful independent voice is the United Kingdom’s Martin Percy. He has his own take on interactive storytelling, seeing it as a genre where certain types of stories—such as education and documentary—work very well, while others—like romantic comedy—do not. His 2017 educational experience Virry VR: Feel the Wild, for example, teaches children how to care for animals. He also directed Lifesaver, which stars Daisy Ridley of Star Wars fame in her first credited role. Made using Adobe Flash, the film provides a simulator in which you save the life of someone using CPR. “Survival works really well in interactive because it’s not about character development; it’s about saving people,” he notes. Marketers have also gotten into the act, not least because studies have shown that people are more likely to remember interactive stories than traditional ones. Using cloud-based platforms like Eko

Courtesy of Resuscitation Council (UK)

Lifesaver, an interactive film by Martin Percy, throws the viewer into a situation where someone will die from a cardiac arrest unless the viewer saves her or him. Shown here is a typical choice in Lifesaver (left), featuring the first professional performance by Daisy Ridley of Star Wars fame. Upon entering the Canadian Museum of Nature’s Canada Goose Arctic Gallery, visitors will be transported to the Arctic thanks to the interactive installation Beyond Ice (right). Created in collaboration with the National Film Board of Canada, Beyond Ice provides a sensory experience of the region’s sounds, light, sights and even touch—with slabs of real ice. Arctic scenes and animations by Inuit artists are projected on the ice, bringing the installation to life as visitors explore the ice up close.

Studio, brands ranging from Coca-Cola to MTV have been creating choose-your-own-adventure content or stories that you can see from multiple perspectives.

a previous project, Conversations with BINA48, which aims to teach one of the world’s most advanced AI robots how to express what it means to be an African American woman in the United States.

As you might expect, brands are not, however, the ones pushing the envelope in interactive stories. If you want to find those who are, you need to look at projects sponsored by places like Google, YouTube, Sundance Institute’s New Frontier and the National Film Board of Canada (NFB).

And all of that simply scratches the surface. In bedrooms, garages and universities alike, makers and creators are hard at work telling stories across every conceivable platform.

The NFB, for example, produces anywhere from fifteen to twenty interactive stories every year. Many are what’s known as transmedia projects, existing in multiple formats, including physical installations and social media presences. “We’re trying to bring a perspective on how the world is developing,” explains Hugues Sweeney, the executive producer of the NFB. “Many of our projects are about creating reach and discovery, but we also have a mandate to push the boundaries.” One recent example is Beyond Ice, an interactive ice sculpture at the Canadian Museum of Nature, which invites visitors to touch a real iceberg—and interact with a story that contains film, animations and other elements highlighting the biodiversity of the Arctic. It will reach 500,000 people each year for the next ten years. On the other end is the NFB’s “10 Naked Truths,” a simple Facebook project that explains how false claims spread on social media. It features a video that seems entirely believable when it is watched silently (most videos on Facebook are experienced without sound). Then, when you watch it with sound, you learn the recipe for creating fake news. In contrast to the NFB’s broadly popular approach, Sundance’s New Frontier leans hard into experimental narrative. Through fellowships and other support, the group works with a wide range of artists across platforms that include AI, data, Alexa and even biometrics. A current fellow, Stephanie Dinkins, for example, is iterating on

However, not everyone is sold on the genre. Some point out the failure of earlier types of interactive stories. Others criticize them for lacking the strong emotional experiences provided by movies. And, for all the shouting, relatively few interactive stories have seen widespread commercial success. “There’s an industry-wide conversation that some of the hardware for things like VR is still catching up to the creative vision,” says Richard Cardran, cochair of the Experience Design Working Group at the Academy of Television Arts and Sciences. “But I’m excited about things like ARKit 2 from Apple. Imagine an AR mystery using your phone’s screen to reveal clues such as a murder weapon on your table and a chalk outline of the body on your rug, both rendered in real-time 3-D. Very impressive.” Cardran’s realism mixed with optimism is common in the field, where nearly everyone points out that new genres often take a while before they gain a wide audience. But whenever so much talent and resources come together for a common purpose, someone usually cracks the code that enables a genre to go mainstream. We don’t know if that will happen in this case, but in the meantime, there are many interesting interactive stories to see. “A lot of people spend a lot of time pontificating about what should be done or what will happen 20 years from now,” says Ray. “I’m much more interested in people who are eager and optimistic about the awesome things we are doing today.” ca The author of this article would also like to thank Jason Brush, Shawn Johnson, Lori Schwarz and Eric Shamlin—all of whom provided invaluable assistance in understanding this complicated topic. Communication Arts | commarts.com

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INSIGHTS Lee Simpson

Streaming Better Experiences By the time you finish binge-watching that show your friend recommended, a sleek new game and the video of the moment will be jostling to catch your eye. Not to mention that epic e-sports tournament, a blink-or-you’ll-miss-it live stream and those two movies you had queued up. It’s a crowded landscape of content, but Lee Simpson is helping media companies find their footing in it. As head of TV and entertainment at digital product studio ustwo, he explores how products and experiences are holding audience attention. Simpson brings his passion for innovation to the task, as well as his experience working as a product lead at Guardian News and Media and mentoring startups in the Ignite100 accelerator program. As content continues multiplying and streaming comes into focus, Simpson is keeping his finger on the pulse of what we watch and how we watch it. —Esther Oh

How did you first become interested in the entertainment industry? I’ve always been a huge television addict. Growing up, I remember when my family had satellite TV installed in our home for the first time. I’d sit for hours, flicking through programs, watching all the crazy stuff they show on public-access and home-shopping channels late at night. I was the stereotypical child who sat too close to the TV for far too long. In 2012, I was lucky enough to work at Ostmodern, an agency in London, United Kingdom, that specializes in work for media and content companies. There, I got to see the inner workings of big broadcasters, such as Channel 4 and ITV. I spent two years helping to create video-on-demand platforms, helping organizations deliver their content through the web, mobile and set-top boxes. From a user experience perspective, what is your critique of streaming services today? People give streaming services a hard time, but these services have it tough. Although TV has been mainstream since the 1940s, the way that people view it hasn’t really changed in the last 70 years. Suddenly, there is an abundance of content and all these new ways to watch TV, so interfaces have gotten really complex as a result. I’ve seen Netflix and Hulu especially take fire for changes to their platforms, but they have a lot to consider. People’s needs and behaviors around content are changing rapidly, and for streaming services, that’s a moving target. 186

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TV shows and movies are inherently a social experience, and for me personally, this is where most streaming services fall short. I watch TV mostly with my wife, but currently, there is no way to have a truly joint experience—finding something for both of us to watch. What excites you about content right now? The lines between different content types are becoming blurry. TV, film, short-form, music, social and gaming are all starting to merge into one endless stream. You can see this happening on your Facebook and Twitter feeds and also in TV shows. Love Island, a British dating reality show, is an amazing example of this. It has managed to combine multiple content formats to create something that’s more of a brand ecosystem than a TV show. Audience members vote on different aspects of the show, like which contestants will remain, via app. Love Island also brings elements of social media into the show. For instance, viewer tweets will often become part of an in-show challenge, and they’ll be used to give contestants some insight into how they’re being perceived in the outside world. Each of the contestants also has a cell phone—thanks to a sponsored partnership with Samsung—which they use to send text messages to each other and take photos in the villa. Some of these photos are also posted to Love Island’s Instagram account. Its audience participation and interaction element is so well executed and tells us what mainstream audiences want from entertainment. I’ve also been watching a lot of in-real-life live streaming on Twitch. It’s basically people walking around, live streaming their daily lives. The audiences aren’t huge—especially when compared to some

YouTubers—but they’re extremely engaged. Between live streaming and e-sports, we’re about to see a new wave of live content. What does interactivity in the entertainment industry look like over the next few years? I think we’re going to start seeing a lot more content that bridges the gap between regular, linear TV and games. Netflix already has original content that has a “choose-your-ownadventure” element to it, and it announced a partnership with video game publisher Telltale Games to deliver a narrative “game” based on Minecraft: Story Mode. Whether this will be successful in the mainstream remains to be seen, but it’s an interesting idea that addresses a lot of the engagement challenges that streaming services are facing.

Right now, I’m also playing a lot of Fortnite—there is a lot the rest of the entertainment industry can learn from this game. In addition to Fortnite Battle Royale being free to play, with new skins and items available for purchase in-game each season, Fortnite has also integrated sponsorship deals. For example, when Fortnite’s publisher, Epic Games, partnered with Marvel to promote the film Avengers: Infinity War, Thanos was a playable character in Battle Royale. I also love how Epic Games manages the community. There is a lot of interaction between the developers and players that helps the game evolve and improve.

How do you stay inspired? People watching. I love seeing how people interact with the world around them, even if they’re just buying a coffee or browsing. That’s when I think most about new ideas.

What is the most exciting work in interaction design that you’ve seen recently? It’s more service design than interaction design, but I admire a lot of the work that consumer product brands are doing at the moment to tell their stories. Brands like Away, Casper, Hiut Denim Co. and Warby Parker aren’t technology companies, but they’re leveraging technology to sell to consumers. These brands are also bridging the gap between physical and digital in interesting ways, like opening brick-and-mortar locations that act as showrooms and provide complimentary services.

I also spend a lot of time with streaming and content apps. I’ll often subscribe to a new service for a couple of months to get a feel for how different brands are solving the same challenges.

Technology isn’t going anywhere, but people are becoming increasingly wary of their digital lives. I respect any company that’s mindful of that. ca

Obviously, immersive technologies like augmented reality and virtual reality (VR) are going to be important. Studios are facing their own challenges in trying to understand how these fit into their businesses, especially since hardware distribution is still an issue. But the increase in location-based experiences and VR arcades is definitely setting a new precedent in this space.

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Ogilvy on Advertising in the Digital Age By Miles Young 288 pages, hardcover, $30 Published by Bloomsbury USA bloomsbury.com

Published in 1983, Ogilvy on Advertising is a seminal work by one of the industry’s forefathers. Although a legend of a copywriter he may be (his eyepatch ads for Hathaway shirts are often held up as genius), Ogilvy never had to sell brands on websites, social media feeds, apps, blogs and so on. With Ogilvy on Advertising in The Digital Age, Miles Young, former worldwide chairman and chief executive officer of Ogilvy, aims to be as comprehensive about best practices in the digital age as his mentor was for print and TV. It includes a timeline of the digital revolution, a Risk-like map of digital territory, and six case studies that Young contends have defined the revolution, including from Cadbury, Dove and Nike. He also profiles five giants of the digital ad age, including R/GA chairman and chief executive officer Bob Greenberg and former McCann chief innovation officer Matias Palm-Jensen, who Young contends foresaw the on-demand economy during his early years in his native Sweden. Yet, the instructive tome is also a call to action for creative people to read or reread the original Ogilvy on Advertising. Young argues that for all the changes, digital media is not unlike the arrival of the big disrupter of the 1950s, TV, and that a lot of Ogilvy’s advice for creating ads that persuade and, ultimately, sell still stands up. “The cast has changed, the scenery is different, the plumbing is new,” writes Young, “but the tragic and comic plots, subplots and counterplots of this business remain persistently and defiantly unchanged.” —Chris Daniels

AllAmerican Ads of the 90s Edited by Jim Heimann

Taschen’s series on All-American Ads tells the United States’ story through the lens of advertising. The books have taken us, decade by decade, from the 1900s to the 1980s. Now, with All-American Ads of the 90s, we arrive at the era rich in Ford Explorers and colorful iMacs, Game Boys and Titanic videocassettes, Gap khakis and Calvin Klein underwear. After Steven Heller provides insights into the advertising and consumerism of the ’90s in the introduction, the book separates into chapters on everything from automobiles to fashion. This tome is heavy with print ads, sometimes printed four per page— an exhaustive catalog of the signs of the times. 656 pages, hardcover, $40, Taschen. —Esther Oh

Creative Superpowers

Equip Yourself for the Age of Creativity Edited by Laura Jordan Bambach, Mark Earls, Daniele Fiandaca and Scott Morrison

Artificial intelligence (AI) is edging into our periphery. But, as Creative Superpowers: Equip Yourself for the Age of Creativity reassures us, AI will free us up to focus on strategizing and creating. To help us unleash our own latent creative “superpowers,” each section of the book—on making, hacking, learning and copying—shares insights from creative leaders. Peppered throughout are pieces of advice so seemingly obvious—“the art of a great creative is to understand what to delete,” “originality is a decidedly modern fetish”—that we’ve probably hustled past them in our haste to crank out brilliant ideas. It’s good, then, that this book provides us with the mental space to pause and refresh. 256 pages, hardcover, £20, Unbound. —E.O. 188

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Frenemies The Epic Disruption of the Ad Business (and Everything Else) By Ken Auletta 368 pages, hardcover, $30 Published by Penguin Press penguin.com

Martin Sorrell, former chief executive of WPP, once referred to Google as a “frenemy” of ad agencies. For, as much as agencies partner with the search-engine giant, they are also in competition with it for client dollars. Both that reality and Sorrell himself are featured prominently in this latest from Ken Auletta, New Yorker contributor and author of the 2009 bestseller Googled: The End of the World As We Know It. Auletta brings his trademark reportage to this “reckoning with an industry under existential crisis” and competition from not only Google, but also Amazon and, in particular, Facebook. He profiles Facebook’s head of sales, Carolyn Everson, and interviews former Crispin Porter + Bogusky chief executive officer Andrew Keller, now at Mark Zuckerberg’s behemoth as global creative director. Keller confirms that Facebook’s creative group only partners with agencies on 60

Save Your Soul Work in Advertising: A Cheeky Proposal From America’s Most Condemned Adman By Richard Wise 118 pages, hardcover, $19.95 Published by Beacon Publishing beaconpublishinginc.com

Advertising has long suffered under the weight of its sleazy reputation. But Richard Wise, the “strategic spin doctor” behind the infamous Joe Camel cigarette campaign, encourages advertisers to hold their chins high. As he writes in the introduction of Save Your Soul: Work in Advertising: A Cheeky Proposal From America’s Most Condemned Adman, “working hard at making brilliant advertising will make you into a far better person than you were when you began.” By sharing stories from advertising, branding and history, he hopes to persuade those who work in advertising to see the industry as he does—a soul-saving vehicle that can help them tap into their humanity.

percent of client work, meaning it is working directly with advertisers. Frenemies also examines how data is both friend and foe. With so much minutiae on customers enabling better targeting, Auletta questions whether the product hawked by agencies—the “big idea”—is still relevant when ads can be customized. Meanwhile, Amazon and its ilk are disrupting the distribution of content, with smart-home digital assistants that can steer users to its own products. (Soon, ads will likely be disguised as objective product recommendations.) Auletta doesn’t have all the answers to how agencies should navigate frenemy waters, but he gives an enlightening, juicy and at times scary portrait of a media ecosystem in upheaval. —C.D.

Nebraska; his father ultimately helped him see the value of looking past the diners’ surfaces to the rich identities within. One chapter even recalls the story of San Bernardino, the patron saint of advertising. Written in a breezy style, the book proclaims without preaching, utilizing bold typography to keep readers’ attention until the end, where Wise presents a personal branding questionnaire. Composed of such prompts as “Why I am here,” the questionnaire gives advertising professionals the nudge they need to rethink how they view both advertising and their own brand. The real question is whether they’ll actually do so. —Michelle Yee

Wise regales readers with the origin stories of various advertising home runs, like the Aflac duck; he shares why this “insulting” idea became a smashing success and a lesson in humility. He also writes about lessons gleaned from his own story, such as the time he was surrounded by “dull, munching faces” in a steakhouse in Communication Arts | commarts.com

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A, Sathyaraj 103 A//SO 159 Abbas, Amara 97 Abed Daltón, Fuad 99 Abell, Mike 103 Abrahams, Yolanda 113 Abrams, Lauren 153 Academy of Motion Picture Arts and Sciences 163 Acht Hamburg GmbH 164 Ackley, Eric 110 Acosta de Vizcaíno, Borja 134 Adams, Madeline 104 Addison, Bray 163 Afton Lalljee, Athina 67 Akita, Todd 103 Akram, Haseeb 136 Aleem Ali, Mian 136 Ali Xeeshan Theater Studio 136 Allen & Gerritsen 62 Allen, Theo 138 Alliance de l’industrie touristique du Québec 115 Alma 83 Almodóvar, Jose 104 Alter Ego Post 108, 113 Alvarez Rizo, David 83 Amazon Prime Video 153 Amblyopia World Campaign 131 Ambrose, Jason 161 American Honda Motor Co., Inc. 65 Amnistía Internacional 134 Andersen, Matt 94 Anderson, Brent 97, 104, 117, 155 Anderson, Derek 163 Anderson, Ryan 70 Andreini, David 145 Angelo, Gerri 99 Annese, Franck 159 Ansari, Fatima 136 Anselmo, Frank 169, 171 Ansley, James 134 Apen, Mark 133 Apple Inc. 97, 104, 117, 151, 153, 155 Apple, KK 161 Apple, The Orchard 97 Aragaki, Phyllis 65 Arbaugh, Erin 62 Arbez, Joel 134 Arcade Edit 153 Armata, Natalie 141 Arnold, Christian 164 Arnone, Marina 136 Arts & Sciences 103 Asaad, Tazeen 136 Ashton, Julie 145 Assaulted Women’s Helpline 145 Asselin, Elizabeth 103 Astral Affichage 92 Asymetric Media Ltd 108 Atkin Guitars 76 Atkins, Shana 157 Au, Amanda 153 Aubin, Marilou 115 Audet-Simard, David 61 Audi of America 99 Audio Bytes Corporation 100 Aumard, Olivier 159

B-Reel 91 Babinet, Rémi 159 Bae, Yoon-sun 103 Bailey, Stephanie 157

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Baird, Marlo 99 Baird, Rob 65, 161 Banadyga, Jarrod 67 Bandith, Linda 110 Baratelli, Joe 65 Baridon, Andrea 169 Barnes, Bryan 164 Barnes, Matt 113 Bartczak, Alex 159 Basna, Nadim 67 Basney, Barbara 110 Baswick, Lauren 113 Baudet-Botella, Jonathan 159 Baule, Maximilian 164 Bayonet, Jade 120 Baz, Brendan 163 Bazinet, Mélanie 115 BBDO Atlanta 133 BBDO Pakistan 136 BBDO Toronto 80, 97, 108 Beacon Street Studios 153 Beckman, Tom 147 Beikmohamadi, James 131 Belfast, Ashley 113 Bellotti, Ruth 97 Benedict, Drayton 163 Benham, Will 131 Bennett, Jimmy 157 Bennett, Ken 157 Bennett, Mitch 131 Bensimon Byrne 113 Benson, Mike 153 Beresford-Hill, Chris 74, 83, 138 Bergeron, Guillaume 84, 133 Bergstein, Julie 161 Berkeley Inc. 78, 113 Bernard, Jackson 69 Bernardi, Andrew 70 Berngartt, David 131 Besen, Constance 103 Best, Marie-Ève 141 BETC 159 Bhangu, Kerry 70, 76 Bibeau, Stéphanie 141 Bieganska, Urszula 67 Biscuit Filmworks 153 Black, Laura 61 Black Lives Matter 138 Blackwell, Chuck 65 Blais, Derek 97 Blais, Xavier 159 Blanchet-Levesque, Félix 61 Bleeden, John 69, 94, 97, 159 Bleublancrouge 141 Blount, Kellyn 65 Bodett, Tom 148 Bodogh, Beatrice 108 Boge, Per 62 Bohringer, Olivia 120 Boivin, David 61 Bokor, Greg 62 Boland, Alex 138 Bonnici, Joseph 113 Booth, Chris 80 Borduas, Isabelle 115 Borup, Sofie 99 Bosch, Arnau 104 Bourdon, Alexandre 141 Boxley, Jennifer 133 Boyajan, Scott 153 Boyd, Dave 62 Brassard, Philippe 78 Braun, Justin 164 Brave Productions 141 Brennan, Andrew 157 Brennan, Elliott 99 Bridges, Stephen 104 Bright, Lisa 94 Brizendine, Karen 100

Bronstorph, Alexis 138, 151 Brook, Max 141 Brooks, Drew 122 Brown, Marcus 155 Brown, Ned 126 Brown, Niko 161 Brown, Sam 155 Brown, Shelley 129 Bruker, Mark 148 Bruneau, Mélanie 133 Bruveris, Gints 113 Bryne, Kevin 125 Buchholz, Kelli 126 Buck 99 Buckhorn, Dean 94 Buda, Chris 133 Bujold, Sara 84 Burke, Eileen 147 Burnett, Jake 153 Burns, David 104 Burton, Tom 97 Busch 155 Butwin, Carla 155

Cabrera, Pablo 134 Calabrese, Joe 155 Calamia, Marc 133 Calderón, Miguel Angel 134 Calio, Luciano 69 Callif, Dustin 94, 138 Camera Repair Centre 67 Campbell, Alex 138 Campbell, Elias 129 Campbell, Hannah 167 Campbell, Morgan 141 Canadian Down Syndrome Society 129 Canadian Paralympic Committee 108 Canadian Real Estate Association 78 Candela, Mauricio 83 Cannon, Pete 151 Cantalini, Gino 141 Cantelli, Hugo 62 Capuozzo, Callil 164 Carbon 94 Cardenas, Anthony 65 Cardillo, Anna 103 Carlucci, John 104 Carmichael Lynch 94, 103 Carnicelli, Nelson 169 Carrey, Victor 104 Carson, Jill 157 Cartagena, Frank 88 Cartwright, Sheri 148 Casagrande, Ed 129 Casanova//McCann 131 W.R. Case & Sons Cutlery Company 61 Casey House 113 Cash, Tim 133 Castillo, Antonio 134 Castlen, Brad 133 Cayer, Marie-Christine 84 Central Station 91 Cesar, Jonathon 70, 76 Cessario, Mike 122 Chan, Peter Ho-Sun 117 Chan, YiBo 117 Chandra, Justin 163 Chang, Chris 141 Charbonneau, Mélanie 115 Chasnow, Adam 125 Chen, Mike 153 Cheng, Hsiao-Ron 73 Chesta, Michael 159

Chiasson, Émilie 133 CHOC Children’s 62 Choi, London 97 Chojnacki, Alec 94, 159 Chong, Joe 171 Choque, Antoine 159 Christensen, Abby 167 Christian, Melissa 163 Christian, Wendy 147 Christianson, Erik 159 Chun, Gina 100 Chung, Alex 113 Cicco, Crissy 155 Ciffone, Nick 155 Cinélande 115 Cinéma du Parc 73, 87 Circonflex 115 Cirulis, Suzy 65 Clancy, Simon 70 Clark Street Bridge 97 Claxton, John 97, 159 The Roberto Clemente Museum 136 Cline, Jeremy 157 Cobra USA 62 The Coca-Cola Company 131 Cody, Kyle 103 Cohen, Fern 110 Coil, Kenny 161 Coleman, Josh 104 Collins, Mike 120 Collins, Shannon 133 Collis, Duncan 157 Comly, Shaun 99 Company 3 99 Contrapunto BBDO 104, 134 Cook County Health and Hospitals System 136 Cook, Sam 103 Cooker, Jeremy 88 Copeland, Jen 133 Coplin, Caty 104 Coppens, Carle 61 Corby, Mary Jo 94 Corley, Chris 157 Cortes, Analisa 100 Cortex 92 Cortex Studio 159 Cosmo Street 151, 155 Cossette 70, 78 Cossio, Mimi 83 Côté, Sabrina 115 Cottrell, Noel 131 Couderc, François 92 Courchesne, Marianne 61 Couret, Nick 103 Courtois, Céline 115 Coutinho, João 110 Cox, Destin 147 CP+B 125, 153 Cramer-Krasselt 126 Crate and Barrel 65 Crawford, James 133 Crawford, Seon 103 Crespo, Gema 104, 134 Crews, Katie 133 Crimi-Lamanna, Nancy 129 Crippa, Alice 69 Cristiano, Lee 70 Cropsal, Élise 76 Crosby, Anne 125 Crowe, Catherine 151 Crowther, Kirk 129 Culbertson, Lauren 122 Cullen, Kate 94, 159 Culligan, Melissa 99

Curtis, Kyle 147 Cutters 145, 159 Cwiklinski, Ryan 147

Da Silva, Jeffrey 138, 151 Dahl, Britta 110 Dahl, Taylor 167 Dahlman, Megan 145 Dantzler, Jim 153 Darius, Catherine 61 Datt Schultz, Neha 147 Davenport, Zack 161 David, Alexander Wolf 164 Davies, Ben 151, 153 Davis, Archie 157 Davis, Coleman 65 Davis, Hubert 113 Davis, Justin 120 DDB Canada 157 de Thurah, Martin 99 Del Gobbo, Luissandro 148 Delaney, Dan 97 DeLeon, Craig 99 Delorme, Janie 61 Demon 159 Deshpande, Moria 131 Desjean, Alain 61 Desmarais, Élisabeth 133 Desmarais, Kate 136 Deutsch 118, 155 Deves, Jonathan 138 Dewhirst, Adam 103 Diaz, Maggie 110 Dick, Jason 108 DICK’S Sporting Goods 163 DiGeorge, Arnie 99, 147 DiLullo, Leslie 153 Dingle, Spencer 78 Dionne, Courtney 113 Disanto, Amanda 129 Ditto, Mitchell 108 Diverse & Resilient 126 Dobrez, Matthew 99 Doner 122 Donnelly, Mark 161 Dore, Emily 163 Doré-Renaud, Julie 115 Dorietto, Gustavo 138 Doris, John 138 Dorval, Louis 84 Douglas, Graham 161 Doyle, Kandace 147 Drobny, Bryce 94 Drof, Rachel 125 Drucker, Scott 129 Dryer, Jeff 153 Du Sault, Luc 61, 92 Dubosc, Alexis 159 Dubrick, Mike 100 Ducati Owners Club of Canada 91 Duffy, Dan 125 Dupéré, Luc 84 Dupont, Nathalie 84 Dupuis, Martin 73, 87 Dusenberry, Gloria 73 Dutcher, Elizabeth 120

EarCandy Post 145 Earth Day Québec 133 Eckel, Ryan 163 Eckersley, Rica 78 Effress, Lisa 125 Eggplant Picture & Sound Eich, Ande 69

141

Electric Theatre Collective 153 11 Dollar Bill 125 Eleven Sound LLC 153 Elicker, Paul 155 Elliott, Jared 151 Endeavor 163 Engelman, Jill 113 English, Brad 94, 138 English, Heather 155 Epoch Films 99 Ertaskiran, Alex 115 Escuela de Creativos 171 Esfandiyari, Arjang 157 España Fernandez, Xavier 171 Estrada, Dave 155 Eua, Krystal Sae 103 Evans, Julie 151, 153 Evanson, Aaron 157, 163 Evenson, Danielle 163 Evenson, Sam 99 Eves, Matt 97 Ewing, Adam 62 Exworth, Andrew 78, 129 The Eye 117

Fabich, Stef 129 Factory Studios 151 Fain, John 133 Fallon, Kelly 163 Farnham, Robyn 145 Farrant, Destiny 145 Farrell, Patrick 163 Favat, Pete 118, 155 FCB Canada 129 FCB Chicago 69, 94, 97, 159 FCB Global 94, 159 FCB&FiRe 69 Felt Music 151 Feltenstein, Andrew 153 Ferguson, Glenn 148 Fernández Iriso, Gorka 104 Fernandez, Renato 94 Ferran, Benoît 159 Ferrero, Melissa 104 Ferruzzo, Jeff 153 Festival de magie de Québec 92 FGL Sports Ltd. 159 Fig55 115 Fillingim, Erin 131 Filmakademie BadenWürttemberg 164 Final Cut 104, 151, 153 Fisher, Connor 108 Fitzco//McCann 131 Fitzgerald, Robin 133 Flaherty, Ben 94 Flaherty, Matt 138 Flaker, Matt 99 Flannery, Jon 159 Flavor 145 Flores, Katherine 113 Floyd, Colleen 70 Fluid 70 Foley, Lisa 65 Forbes, Rob 145 Forcier, Stéfanie 84 Ford, Rich 118 Fort York VFX 113, 129 Fortin, Marc 115 Foulke, Kirsten 110 Fox, Chris 118 Framestore 138 Franciose, Zack 103 Franckowiak, Sally 65, 161 Franco, Ricardo 138 Franklin, Logan 129 Fredette, John 110 Freese, Felix 74, 83 Freni, Edith 133 Freshh.tv 138 Frost, Diana 97 Fulchiron, Fabien 70 Fung, Sally 129 Furlined 151, 153 Fürstenau, Floyd 164

Gaboriau, Jason 122 Gadoua, Alexandre 141 Gaebe, Karen 65 Gagnon, Camille 92 Gagnon, Charles 73, 87 Galena, Seth 110 Gallimore, Meg 62 Garber, Dafna 97 Garbutt, Chris 74, 83, 138 Garcia, Danny 99 Garcia, David 142 Gardiner, Ryan 91 Gardner, Leigh Anne 153 Garmey, Kristen 163 Gartrell, Marques 155 Gass, Jimmy 103 Gassman, David 145 Gastinger, William 110 Gatorade 94 Gauthier, Trevor 70, 78 Geib, Franki 94, 159 Gélinas, Julie 84 Gentile, Kevin 103 Geoffroi, Remie 157 Geraldo, Max 69, 159 Gerker, Annie 157 Gerstner, Coby 147 Gervais, Maurice 84 Gethin, Mark 103 Getty Images 159 Ghost Robot 110 ghost+cow 104 Giants & Gentlemen 141 Gibbons, Brendan 151 Giersbrook, Elizabeth 145 Gilden, Bruce 88 Gillespie, Gavin 157 Girault, Nicolas 115 Givord, Cédric 115 Glad 94 Glover, Douglas 108 Godrej Security Solutions 92 Godsey, John 131, 157, 163 Gold Dog Communications 107 Golden, Melissa 157 Goldsmith, Laura 163 Goldstein, Kaylin 125 Golub, Jennifer 138 Gonzalez, Luzalma 83 Goodman, Kathryn 125 Gorelik, Samantha 133 Götze, Nadja 164 Goulet, Étienne 141 GPP Fitness 70 Graham, Tom 103 Grais, Ian 70, 76, 100, 145, 148, 159 Grandey, Chad 136 Graphic Art Laboratory 80 Gray, Jordan 157 Grayson Matthews 108, 129 Greenberg, Greg 155 Gregg, Leah 145 Grégoire, Sylvain 61, 92 Grey Canada 134 Grey Dubai 67 Griego, Phil 142 Griffin, Joe 148 Griffith, Jono 103 Griffiths, Dexter 169 Groenewald, Mike 131 Grossman, Jed 91 Grundhoefer, Joe 103 Guest, Blake 103 Guest, Joe 151 Guilbault, Marc 84, 133 Gupta, B Das 92 gyro New York 107

H&R Block Canada 151 Hacohen, Nancy 94, 138 Hadley, Melissa 108 Hadley, Parker 167 Hager, Brit 110 Hahn, David 120

Hajek, Robert 131 Hakim, Aisha 99 Halbert, Doug 155 Hale, Zach 108 halflife* digital 142 Hall, Ben 120 Halverson, Tim 126 Hamer, Jordan 78 Hammond, Justin 103 Hampson, Olivia 100 Hannon, Nancy 73 Hansen, Allie 104 Hanyang University 169 Hapa Sushi 69 Harbec, Vanessa 61 Hardcastle, Paul 155 Harding, Tom 151, 153 Harff, Robin 164 Haris, Abdullah 136 Harpootlian, Wade 138 Harris, Cabell 62 Harris, Troy 131 Harrison, Brad 94 Harrisson, Mathieu 141 Hart, Colin 67 Hartford, Shelagh 129 Hawaii Tourism United States 100 Haworth Marketing + Media 163 Headley, Michelle 83 Healy, Barbara 151 Hearne, Sanders 104 Heckman, Tyler 103 Hedstrom, Martha 120 Heisner, Ashley 155 Henderson, Griff 141 Henderson, Hayes 157 Hensley, Jonathan 163 Herman, Daniel 104 Hernandez, Catalina 131 Hernandez, David 133, 136 Hernandez, Ramon 104 Héron, Adrien 141 Hertzog, Dan 145 Hertzog, Ganna 145 Hickman, Stephanie 141 Hicks, Ryan 161 Hiele, Danny 94 Higgins, Stacey 65 Hildebrant, Kate 153 Hill, Fluorescent 157 Hilts, Jeff 129 Hirsch, Chris 76 Hoang, Monika 157 Hoefkes, Marty 129 Hofferman, Rob 125 Hogan, Ciian 67 Hogan, Tim 133 Hollett, Kyle 108 Holpfer, Shawn 126 Holt, Jessica 133 The Home Depot Inc. 104 Horn, Lauren 78 Horne, Kelsey 138, 151 Horwitz, Courtney 161 Hounsell, Geoff 153 House, Jalisa 99, 103 Howarth, Bryan 80 Hsu, Ren-Hsien 103 Hubbard, Matt 108 Huber, Blake 145 Hudson, Erica 157 Huehnerfuss, Ashley 125 Hughes, Megan 148 Hughes, Randy 94 Hui, JoJo 117 Human 99 Hummel, Rosalyn 163 Hungry Man 125 Hunter, Andrew 88 Hunter, Greg 65, 161 Huppé, Marie-Christine 61 HutchCo Technologies 103 Hutchins, Jim 103 Huys, Kristen 141

Ibrahim, Khaled 67 IFEX 136 Ignazi, Peter 70, 78 Imai, Kara 100 Immer, Steve 94 Imperial Woodpecker 155 In the Wee hours 145 Ingvarsson, Robbin 104 Innostone Studio 84 Interscope Records 118 Intersimone, Molly 103 Issa, Jim 133 Issari, Ali 118 It’s On Us 145 Iverson, Nathan 118 Ives, Kevin 103 Ivory, Faith 167 Iwankiw, Kristina 103

J, Sendil Kumar 103 Jackling, Kate 65 Jackson, Clark 125 Jacobs, Chris 126 Jácome, Raquel 131 Jaffe, Darren 145 Jafry, Sabreen 88 James, Nate 161 James, Scott 167 Jameson, Bryan 104 Jeep 69 Jeffrey, Jason 141 Jeong, Incheol 103 Jewell, Bridget 120 Jividen, Dan 147 Johanson, John 65 Johns, Brad 94, 138 Johnson, Eric 122 Johnson, Pete 151 S. C. Johnson & Son, Shout Jones, Kevin 153 Jorge, Carlos 104, 134 Joudrey, Steph 157 Jourdain, Alexandre 115 Joyce, Dustin 120 Jucarone, Tom 103 Judelson, Jaci 94 Juniper Park\TBWA Communications 136 JWT India 92

Kahn, Melissa 129 Kaiser, Jamie 113 Kalanda, Martin 110 Kallonen, Ela 171 Kamal, Hridii 138 Kandel, Marissa 157 Kane, Evan 67 Kane, Kurt 157 Kaneshiro, Darrin 100 Kang, Dae Yoon 103 Karabegovic, Elma 129 Karr, Meredith 138 Karuppaswamy, Karthick Katinszky, Jenni 100 Kaufman, Eric 118 Kaul, Enca 99 KBS 103 Kealani, Taryn 161 Keats, Matt 99 Keck, Matt 157 Kefer, Ryan 157 Kelleher, Dan 155 Kelly, Ian 153 Kemp, Christopher 99 Kenny, Tom 97, 108 Kentris, Jordan 157 Kerry, Sarah 161 Ketchum 157 Khalid, Assam 136 Khan, Eesha 136 Khan, Khairaza 136 Khan, Moiz 136 Khanna, Kshitij 103

Kim, Junggle 171 Kim, Minkyung 169 Kim, Nellie 76 Kim, Sewing 103 Kim, Steven 141 Kim, Susie 100 Kim, Yerin 164 Kindai University 80 King, Richard 163 King, Timory 155 Kinney, Michael 163 Kinsella, John 88 Kishan, Jai 103 kiyoung, AN 80 Klapowich, Meredith 113 Klugman, Matt 120 Kluin, Menno 88 Knierim, Peter 125 Knight, Megan 161 Kohler, Gretta 157 Komendera, Jean 107 Kong, Stephen 117 Konishi, Hide 65 Koo, Rose 100 KOOK Toothpicks 74 Kopicki, Eric 138 Kopitsky, Julie 125 Koplan, Elizabeth 103 Korth, Alison 163 Koukodimos, Tom 138, 151 Koven, Gus 103 The Kraft Heinz Company 125 Kreuch, Steven 138 Krishnaiah, Muthyala 103 Krishnan, Sujith 67 Krkljus, Kristina 138 Krug, Steve 80 Krumins, Eriks 103 Kruse, Bill 153 Ku, Mo 171 Kuczynski, James 164 Kuemper, Jared 78 Kuhn, Richard 142 Kumar, Senthil 92 Kumar, Tarun 103 Kundukulam, Saji Johnny 74, 92 Kunken, Michele 103 Kuntla, Vitaal 103 Kurtz, Nadav 159

103

Lacey, Kristen 147 LaChance, Laura 129 Lacoste 159 Lafrenière, Jean 61 LaGanke, Brandon 104 Lambert, Paul 62 Landajo, Luciano 69 Landry, Jean 84 Lang, Graham 136 Langley, Aaron 151 Larouche, Christine 61 Larsen, Stacie 161 Larski, Kacper 108 Larson, Kirsten 104 Lasovich, Cameron 141 Lattik, Ernst 164 Lavery, James 88 Lavignasse, Agustina 169 LaViolette, Justine 138 Lavoie, Jonathan 115 Lavoie, Mathieu 115 Lawlor, Nathaniel 97 Lawson, Jordon 70, 76, 100 Lebel, Mathieu 115 Leclerc-Dion, Marie-Ève 115 Lee, Amy 118 Lee, Charles 103 Lee, Donghoon 169 Lee, Hannah 103 Lee, Jeffrey 103 Lefebvre, Audrey 115 Lefler, Michelle 97 LEGO 61, 67 LeMaitre, Jim 155

Communication Arts | commarts.com

191

INDEX TO ADVERTISING ANNUAL 59 LeMesurier, Eryn 129 Lemyre-Cossette, Julia 84, 115 Lenski, Matt 103 Leong, Ryan 91 Les Évadés 73, 87 Les Producteurs de lait du Québec 61, 84 Let’s Drink Better 141 Leutz, Josh 103 Levêque, Julien 159 Levinson, Sasha 99 Levron, Fred 94, 159 Leyenaar, Troy 131 lg2 61, 76, 84, 92, 115, 133 Liao, Jackie 103 The Lift 99 Lim, Hayley 141 Lim, Sidney 117 Lime Studios 94, 97, 155 Linardatos, Andy 136 Linsk, Jordan 147 Liu, Ziming 103 Lobont, Noiemi 94 Londo, Sara 120 Long, Gabe 161 Lopez, Antonio 131 Lopez, Jeff 103 López, Raúl 134 Lopez-Otero, Johann 83 Lord + Thomas 69, 94, 97, 159 Lord, Bryan 104 Loredo, Carl 157 Lotsch, Sophie 164 Lotus, Greg 110 Lovass, Taylor 120 Love, Dan 99 Loyland, Krystle 65, 161 Lu, Mesu 117 Lu, Michael 117 Lubrano, Alexandra 99 Luc, Kevin 80 Lukacs, Alex 104 Lussier, Pierre 133 Lustig, Franz 155 Ly, Jean 153 Lynch, Maureen 147 Lynch-Hartley, Maggy 148 Lyons-Urbanek, Kathryn 122 Lyric Opera of Chicago 148

Mackie, Todd 80, 97, 108 Mackler, Jonathan 155 Mahoney, Stump 97 Maia, Angelo 138 Main, Jonathan 151 MAL\FOR GOOD 138 Maloy, Elizabeth 104 Manale, Mary 157 Mangar, Sanjay 113 Manmohan, Vidya 67 Mann, Hylton 136 Manzic, Karine 159 Mao, Ming 84 Marcy, Josh 104 Mark, Kelly 78 Márquez, Cristina 171 Marrie, Marc 103 Married to Giants 108 Mars Wrigley Confectionery Marshall, Beth 133 Martin, Chad 163 Martin, Chris 88 Martin, Jeff 99 Martin, Lance 78 Martinez, Ugo 141 Maskan, Peymon 104 Matathia, David 131 The Matchbox Studio 108 Mathes, Estee 133 Matías, Marta 131

192

Advertising Annual 2018

Matin, Arman 103 Matsuoka, Mel 100 Mauer, Tony 126 Mavrakakis, Billy 129 May, Max 100 Mayen, Miguel 69 Mayes, Wendy 148 Mazza, Céline 159 Mazzotti, Bruno 94, 159 McAfee, Michael 94, 97 McAllister, Ian 104 McArter, Diane 151, 153 McCaleb, Anna 65 McCann Worldgroup 131 McCaslin, Eric 153 McCoy, Jonathan 103 McDonald, Holly 113 McDonald, Jen 157 McDonald, Nancy 115 McDonald, Rachel 138 McDonald, Scott 122 McDonald’s Restaurants of Canada Ltd. 70, 78 McDonald’s Switzerland 74, 83 McGarrah Jessee 61 McGinness, Will 99 McHugh, Candice 141 McHugh, Mathew 147 McIntosh, Craig 78 McIntosh, Scott 169 McKay, Scott 70 McKibben, Karen 103 McLoughlin, Stephen 129 McNary, Matt 163 McWhorter, Seth 131 MediaCom 97 Meger, Emily 103 Mehrose 103 Mejia, Nick 153 Melançon, Katherine 115 Melara, Ernesto 142 Mellor, Katie 131 Menard, Cédric 103 Mendelson, Bowen 131 Mendenhall, Zach 157 Mendez, Kako 104 Mercado, Theo 103 Mercedes-Benz España, S.A. 104 Merchez, Maxime 61 Mescall, John 131 Messianu, Luis Miguel 83 Metrolinx 157 Meyers, Wes 147 Miami Ad School 169, 171 Miami-Dade Animal Services 83 Michalejko, Christine 129 Mikus, James 61 The Mill 97, 99, 103, 110, 155 Millar, Jeff 91 Miller, Christina 157 Miller, Craig 133 Miller, Deb 100 Miller, Duncan 138 Miller, Matt 99 Milligan, Kiel 108 Minnis, Grant 163 Mizushima, Kristin 169 MJZ 97, 103, 104 Mobin, Huma 136 Moffatt, Stewart 129 Mohibullah, Hira 136 Moin, Gira 129 Mollerup, Seth 164, 169 Monette, Geneviève 115 Monk, Brad 91 Monn, Chuck 97, 117 Monster.com 103 Montaj 9 100 Moon, Rachel 103 Moore, Anthony 151

Moore, Guy 70, 78 Moore, Justin 99 Moore, Meegan 161 Mordak, Ernie 129 Morelli, Michael 129 Moreno, Carlos 70, 78 Moreno, Justin 148 Morris, Ed 70 Mosa, Anthony 145 Mossell, Celena 94 Motel 6 148 Mountain Road Studio 142 Moving Picture Company 103, 151, 153 Mueller, David 113 Mullen, Raquel 70, 78 MullenLowe Mediahub 122 Mullick, Dream 142 Murphy, Bill 91 Murphy, Nole 103 Murray, Doug 88 Murray, Scott 99 Museum of Science, Boston 62 MVNP 100

OMD/Resolution Media 94 One Love Foundation 138 One Thousand Birds 110 O’Neill, Kevin B. 167 O’Neill, Leigh 145 OneMethod 113 101-North 145 Ong, Huiwen 169 OPC 141 Ordóñez, Carlos 131 O’Rourke, Brian 97 Ortega, Lolo 134 Ortega, Sasha 129 Ortiz, Alejandro 131 Ortiz, Christina 107 Ortiz, Julio 131 Osholowu, Dosh 70, 76 Osterrieder, Annika 164 Ouellette, Carly 113 Owett, Margot 110 Owsley, Zola 69

Najdovski, Lindsey 118 Narrative 113 The Narrow Street 74 Nash, Tory 113 Nath, Alok 133 Nathanson, Alanna 141 Nau, Jon 153 Navaneethan, Gokul 103 Nelson, Kara 163 Neri, Angela 100 Netflix 122 New, Jerrod 171 New, John 157 New Mexico Department of Transportation 142 New Orleans Tourism Marketing Corporation 88 Newberry, Crystal 153 Nicholson, Peter 120 Nickel, Adam 157 Nickelodeon Creative Advertising 151 Nijesh 103 Nikolic, Vlad 108 Nilsen, Aaron 113 Nilsson, Andreas 153 Ningbo Zhenhai Yanwuyan Vision Design Co., Ltd. 84 NO6 138 Nogier, Frédéric 74, 83 NoiseFloor 147 Nordeen, Charles 138 Nordstrom, Elliot 61 Nordstrom, Erin 99 Norovsambuu, Emily 145 Nova Film 92, 159 Novus 78 Nowicki, Michael 147

Obayemi, Emmanuel 157 O’Brien, Sam 61 O’Connor, Megan 100 Oelman, Ford 163 Oeth, Luke 103 Ogilvy Chicago 73, 133, 136, 148 Ogilvy Montréal 61 Oliva, Tami 133 Oliver, Jordan 147 Olsen, Greg 69 Olson, Carla 148 Olson, John 91 OMD Worldwide 104, 117, 155

Palumbo, Vic 118 Pan, Liuyi 84 Pankey, Jacob 65 Pappanduros, Ken 65 Paradise, Dean 94, 159 Park, Hyei Min 164 Park, Scott 76 Parkins, Chris 129 Pasha, Atif 136 Patil, Sandeep 103 Patterson, Catherine 110 Patton, Al 104 Paul, Jim 147 Payette, Karine 84 Payne, Jeff 153 Pearsall, Colin 88 Pecson, Kaitlyn 129 Peichel, Rob 120 Pelland, Johanne 115 Pelletier, Jérémie 92 Pérez, Ixhel 99 Periscope 120 Perlman, Hank 125 Perreault, François 115 Perreault, Jean-François 115 Perruccio, Daniella 113 Perry, Chris 97, 104 Perry, Katelin 104 Peter, Julian 113 Peters, Mark 94 Petersen, Chris 164, 167, 169 Pfeiffer-Weiss, Lena 164 Phillips, Jennifer 141 Phillips, Sam 103 Phillips 76 103 Piasecki, Tricia 70 Pichette, Julie 92 Picicci, Laura 157 Pido, Gina 138 Pienta, Tim 113 Pierce, Allison 157 Pilarczyk, Thea 110 Pilling, Michelle 113 Pinkston, Chris 99 Pinnock, Shawn 113 Piper, Brent 157 Piper, Pat 157 Pivot Audio 94 Playland 70, 76, 148 Plaza, Amadeo 103 Poggio, Rocio 104 Polcsa, Greg 153 Polis, Matthew 125 Pons-Kilfoil, Tania 92 Poon, Gordon 78 Portner, Alicia 138 Portnoy, Oleg 78

Post 430 115 Post Op 148 Poulin, David 92, 159 Poulin, Thalie 133 Prak, Rittie 129 Preacher 65, 161 Prenaud, Louis 138 Press, St. Vincent 107 Price, Emma 125 Prince, Sophie 99 Procter & Gamble Co., Charmin, 151 The Public House 67 Puente Aéreo Films 104 Putnam, Jennifer 62 Pylypiw, Joel 80

Quan, Robert 97 Quatro Design 92 Quick, Dorado 157 Quillian, Kathleen 133 Quintal, Nicolas 159

R&R Partners 99, 147 Raharja, Kelvin 104 Rahim, Aamna 136 Ramanan, Neil 91 Ramírez Arias, Luis Gabriel 136 Ramirez, Suzy 151, 153 Ranawake, Madara 129 Rapport 122 Raschbaum, Ryan 108 Rashid, Haroon 136 Rawle, Bentley 164, 167 Read, Jenny 103 Reardon, Carlee 129 Reddy, Murali Krishna 103 Reed, JR 133 Reese, Mike 157 Reeves, Stewart 99 Regimand, Julie 69, 159 Reilly, Jake 99 Reiter, Devin 125 Reiter, Neal 120 Remba, Monica 108 Rémillard, Manon 84 Renshaw, Adam 133 Resende, Nathalia 104 Resnick, Sari 103 Rethink 70, 76, 100, 145, 148, 159 Rez, Ali 136 Rhodes, Derick 161 Rice, Alex 69 Rice, Scott 147 Richard, Martin 108 The Richards Group 148 Richardson, Heather 159 Richardson, Krysten 99 Richer, Maxime 61 Riley Rose 91 Rincón, Felipe 131 Rios, Lisa 126 Rippin, Bart 157 Rivest, Marc 61 RK Venture 142 Roach, Katie 94 Roberts, Bruce 74, 83 Robertson, Perry 145 Robins, Christina 125 Robinson, Jack 88 Robinson, James 99 Robinson, Kayla 97 Rochon, Patrick 84 Rockett, Marie 62 Rodahl, Martin 147 Rodeo Production 61

Rodgers, Dave 91 Rodríguez, Avelino 99 Roever, Travis 155 Rogers, Leia 145 Rolfe, Rob 153 Romanelli, Andrea 151 Romig, Mark 88 Rooney, Jason 97 Rooster Post Production 113, 129 Root, Jim 126 Rose, Stephanie 159 Rosenberg, Maddie 171 Ross, Jeff 61 Ross, Marshall 126 Rossetto, Denise 80, 97, 108 Rounis, Pamela 100 Roussy, Marie-Ève 92 Routhier, Pascal 159 Rouxel, Jonathan 141 Rowson, Chris 74, 83 RPA 65 Ruben, Claudio 142 Rubiano, Juan Pablo 131 Rubio, Daniel 134 Ruiz, Rolando 67 Russell, Rick 153 Ryan, Jason 97, 159 Rybak, Sandro 87

S, Giri Prasath 103 Saati, Nayim 103 Sabatine, Cody 129 Sacco, Jeff 108 Saheed, Hafeez 151 Saints Editorial 141 The Salvation Army 134 Samara 141 Samuel, Rupert 153 Sanchez, Gabriel 131 Sánchez, Julian 131 Sandgren, Linus 153 Sanford, Jonathan 99 Sanford, Laura 153 Sangster, Jeff 108 Sartor, Samantha 113 Sasson, Josh 99 Saul, Courtney 131 Sauté, Maxime 159 Sauvé, François 84, 133 Save the Children 147 Schade, Ryan 167 Scharwath, Brian 99 Scheele, Allie 153 Scheideler, Pam 118 Schein, Max 131 Schifino Lee 136 Schiller, Evan 155 Schilling, Christian 164 Schmid, Abbie 163 Schoenberg, Jonathan 69 Schonberger, Mike 108 Schönlieb, Gianmaria 91 School Editing 78 School of Visual Arts 164, 169, 171 Schroen, Patrick 113 Schulze, Zack 126 Schwartz, Jon 103 Schwartz, Rob 138 Schwartz, Sara 122 Schyngera, Wes 157 Sciarrotta, Joe 73, 133, 136, 148 Scissons, Patrick 103 Score a Score 131 Scovell, Jake 163 Seah, David 117 Sedorovitz, Eric Matthew 103 Seibold, Jeremy 69

Senn, Marty 94, 103 Serena Digital 104 Serra, Laura 113 Serra, Martin 94 740 Sound 99 71 Degrees North 147 Seymour, Patrick 84 SGL Studio 80, 97 Shabaz, Ali 67 Shah, Chaitali 103 Shah, Raza 136 Shaikin, Trevor 108 Shalaby, Rasha 99 Shankar, Dhruv 103 Shanker, Leela 103 Shapiro, Julia 91 Sharts, Daniel 103 Shaw, Jordan 78 Shed 61 Sheets, Jeff 164, 167, 169 Sheffield, Ron 122 Shepherd, Sam 88 Sheridan, Katie 104 Shirley, John 99 Shoemake, Matt 131

t .

Tada, Debbie 100 Take Note 80 Talwar, Jay 100 Tangonan, Bradley 100 TANK 141 Tanweer, Jamayal 136 Tapea, Maeva 61 Tarr, Ben 129 Tarran, Emily 99 Tauro Jr., Nick 142 Tavel, Zach 161 Taylor, Anna 133 Taylor, Donald 103, 151, 153 Taylor, Jon 151 Taylor, Liz 69, 94, 97, 159 TBWA 74, 83 TBWA\Chiat\Day 94, 138 TBWA\Media Arts Lab 97, 104, 117, 155 TDA_Boulder 69 Team Gleason 133 Tenerovich, Katy 131 Tennant, Aliz 100 Testicular Cancer Canada 141 Thérien, Mélanie 133 Théroux, David 78 Thibault, Sébastien 133 Thompson, Erica 103 Thomson, Doug 122 360i 88 Thunell, Jedediah 167 Thur, Adam 78 Tierney, Morgan 70, 76, 145, 148 Tinder 99 Tingyin Record 84 Tipre, Joe 94 Tom, Steve 100 Tonic DNA 70 Tool 94, 138 Topol, Allan 157 Touché! 61, 115, 159 Towse, Michelle 151 Trafalgar13 Music House 104 Tralman-Baker, Brandon 141 Tran, Jacky 91 Tremblay, Mathieu 92 Tribe, Nigel 133 Trochut, Alex 74, 83 Trolli 120 Trombone Shorty Foundation 88

Tron, Laura 118 Trump, Donald 69 Tuer, James 157 Tull, Ant 157 Tully, Jeff 62 Tunnicliff, Rob 141 Turlay, Annie 125 Turner, Martha 113 Tuszynski, Stosh 147 Tuttle, Nick 103 Tuxen, Kasper 99 22pictures 104 22squared 104 Tzadok, Elad 145

VML 131, 157, 163 von Rahl, Anastasia Vrod, Isabelle 103

Umanzor, Wendy 145 UN Women 136 UNION 78 Uribe, David 169 Urruchua, Arantza 110 Usher, Zak 157 Utah Department of Health Tobacco Prevention and Control Program 147

Vahn, Tina 70 Valdivieso, Juan Camilo 83 Valentine, Sophie 76 Valle, Pete 62 Valsan, Maxime 159 van Gelder, Joost 103, 151 Van Heijningen, Matthijs 103 Van Skyhawk, Eric 151 Vandebroek, Ruben 103 Vanden Bergh, Schuyler 62 Vandersall, Chris 103 Vandeven, Debbi 131, 157, 163 The Vanity 129 Vega, Holly 153 Velasquez, Ryan 163 Venables Bell & Partners 99 Vernuccio, Joseph 129 Vidal, Juan 133 Villarreal, Maurizio 131 Vimeo 161 Vinick, Jeff 155 Visit Las Vegas 99 Viswanathan, Karthik 103 VITRO 62 Vitro, John 62

103

Wade, Jenna 120 Wake Forest University 157 Walinga, Joële 129 Wallace, Jordain 100 Wallace, Paul 157 Wallin, Clairellen 103 Walsh, Matt 159 Wang, Bonnie 138 Wang, Jonathan 153 Wang, Wen 91 Wangchen, Lobsang 171 Ward, Mal 103 Washer, Graham 70, 78 Watanabe, Brian 100 Waters, Eric 88 Wave Productions 148 Wavemaker 110 Way, Corey 78 Weber, Jess 125 Weber Shandwick 147 Weisberg, Eric 122 Weiss, Harland 141 Weitzmann, Michael 118 Welch, Jake 153 Wells, Xanthe 138 Wen, Janet 134 Wenzel, Manuel 74, 83 Wernette, Andrew 131 Weskamp, Tim 164 Westside Studio 113 Wheat, Wilsynn 167 Whitaker, Ashley 129 Whitehouse Post 94, 97 Whitener, Wes 131 Whiteson, David 108 Whitlock, Jenny 153 Wickham, Melanie 103 Williams & Partners, Inc. 62 Willis, Lindsey 161 Wilson, Dougal 151, 153 Wilson, John 103 Wilson, Lawrence 97 Wimberley, Steven 161 Winfield, Sherman 131 Wise, Freddie 163 Wolff, Jean 88 Won, Yuran 169 Wong, Jennifer 80

Wong, Kurtis 97 Woodward, Maura 151 Woodwork Music 103 Work Editorial 99, 103 WORK Labs 62 Wright, Kelly 91 Wu, Ed 163

x y

Xeeshan, Ali Xerox 110 Xiong, Yuxin

136 167

Y&R New York 110 Yada, Darren 100 Yao, Dabin 84 Yeend, David 104 Yoo, Jin 73 Yoon, Woo Jae 164 Brigham Young University/BYU AdLab 164, 167, 169 Young, Rei 147 Yushkov, Shirley 134 YWCA 100

Zachwieja, Peter 159 Zafar, Ahmed 136 Zander, David 103 Zarazun, Craig 148 Zaval, Juan 103 Zentil, Jaimes 78 Zesaguli, Batsirayi 159 Zhang, Gordon 100 Zhang, Migyue 117 Zorn, David 97 Zuluaga, Lauriana 110 Zuniga, Louie 104 Zutler, Zachariah 103 Zwer, Lorrie 157 Zylberberg, Nadine 163 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.

Statement of Ownership, Management and Circulation 1. Publication Title: Communication Arts. 2. Publication No.: 0082-120. 3. Filing Date: 9/27/18. 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 2018. 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): 24,813/22,410. 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): 17,333/16,104. (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: 2,971/2,994. (4) Other Classes Mailed Through the USPS: 0. c. Total Paid and/or Requested Circulation [Sum of 15b, (1), (2), (3) and (4)]: 20,304/19,098. 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: 311/304. (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): 66/84. (4) Free or Nominal Rate Distribution Outside the Mail (Carriers or other means): 535/108. e. Total Free or Nominal Rate Distribution (Sum of 15d (1), (2), (3) and (4)): 912/496. f. Total Distribution (Sum of 15c and 15e): 21,216/19,594. g. Copies Not Distributed: 3,597/2,816. h. Total (Sum of 15f and g): 24,813/22,410. Percent Paid (15c ÷ by 15f × 100): 96%/97%. 16. Electronic Copy Circulation: a. Paid Electronic Copies: 1,204/1,228. b. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a): 21,508/20,326. c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a): 22,420/20,822. d. Percent Paid (Both Print & Electronic Copies) (16b ÷ by 16c × 100): 96%/98%. 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

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“Transparency is the new

“Community building is a dialogue, not an ad.”

Chuck Porter, via the 2015 Cannes Lions International Festival of Creativity

Marissa Shrum, via Communication Arts Insights Online

black.

“Bad advertising is bad advertising, whether it is thirty seconds, fifteen seconds, six seconds or any other length.” Mark Trueblood, via Medium

“We already have Doritos for women—they’re called Doritos, and they’re loved

“Using a celebrity is not an idea.” Anselmo Ramos, via Twitter

“Don’t let technology distract you; put it to good use.” Diana O’Brien, via Campaign

“You can’t just buy a bunch of ad agencies, lump a constituent on top of it and call it an

by millions.”

integrated solution.”

Doritos, via Twitter

Sarah Hofstetter, via Ad Age

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Jigisha Bouverat Collective

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