Muse
The Official Magazine of the Art Directors Club NO. 01
INTERVIEW WITH ALEX BOGUSKY
THE STATE OF AWARD SHOWS
BEHIND THE GOLD
FUTURE FORWARD
The ADC Hall of Fame legend highlights his early days
An interivew with the Gunn Report’s Emma Wilkie
Five ADC Cube winners take you behind the scenes
Google Creative Lab’s Robert Wong talks Tomorrow Awards
FOR THE ART OF IT ALL The 92nd Annual Awards Call for Entries is Now Open!
CONTENTS
4
AN ADC HALL OF FAMER’S WISDOM
18
BEHIND THE JUDGING
Alex Bogusky shares his early industry experience, what the ADC Hall of Fame means to him and why social responsibility matters.
91st Annual Awards Advertising Chair and President of 72andSunny John Boiler discusses his experience leading the 91st Advertising Jury and what’s to come.
PHOTO BY: LOREM IPSUM DOLORE
ON THE COVER
This cover features be noisy, by HAKUHODO Inc. for the popular Japanese department store Laforet Harajuku. This entry to the ADC 91st Annual Awards won a Silver Cube for Graphic Design.
FOR THE ART OF IT ALL
8
THE STATE OF AWARD SHOWS
28
LEADING A JURY OF MONSTERS
Emma Wilkie, Managing Director of the Gunn Report, talks about its role in the advertising industry and what would comprise her dream award show.
Robert Wong, Chairman of the Monster Jury and CCO of Google Creative Lab, highlights the challenges to moving the industry forward.
2 Word from the Executive Director 3 Word from the Editor 10 ADC 92nd Annual Awards Call for Entries Information 13 Why Miami? 14 Behind the Gold: Solar Annual Report 16 Behind the Gold: Let’s Make Some Great Art
19 ADC 92nd Annual Awards Judging 20 Behind the Gold: New York Times Magazine 22 Behind the Gold: Art+Com’s Anamorphic Mirror 26 Behind the Gold: BETC’s “The Bear” 31 Who Will Lead The Leaders?
Alex Bogusky photo by: Jason Leiva
OCT 2012 3
A WORD FROM THE EXECUTIVE DIRECTOR
As the new Executive Director of the Art Directors Club, I welcome you to our inaugural publication of Muse magazine, and most importantly to the new ADC Global Network. This is the beginning of many changes you will see coming out of New York and extending around the world. I’ve lived in ten countries in my life, so I hate it when things stay the same. I love packing, moving and re-inventing oneself from scratch. It’s when you leave the comforts of home that you find yourself. After 92 years in New York, we have moved the ADC Annual Awards — the first advertising and design award show in the world — to the city of Miami. When I said we are changing, I actually meant it. Not only are we going to create the only major North American beachside creative festival, we are also going to structure it unlike any other festival or conference. It will be fun (à la pool parties!) and it will be a truly creative learning experience (calligraphy lessons, anyone?). Our home base will be the gorgeous W South Beach hotel, and we will be awarding the winners of the ADC 92nd Annual Awards in the grandeur of the Frank Gehry-designed New World Center. There will be lots of great networking as the top creative professionals from around the world convene in sunny South Beach. The reason why we created this magazine, which will hit the coffee tables and desks of more than 50,000 top global creative minds, is simple: to share knowledge about, and insight into, the art and craft that goes into the work that takes home an ADC Cube. We always know what campaigns and pieces win, but we never know why they win or what was involved in the creation of these campaigns. ADC is the home and birthplace of the art and craft in advertising and design, and we will be recommitting to our roots to better help our members and the creative industries. I look forward to meeting each of you at the ADC 92nd Annual Awards + Festival of Art and Craft in Advertising and Design in Miami. First mojito is on me.
Ignacio Oreamuno Executive Director Art Directors Club
2 NOV 2012
ADC 92nd ANNUAL AWARDS
A WORD FROM THE EDITOR
It is not hard to find work that inspires among the ranks of those who were awarded a Gold Cube at the ADC 91st Annual Awards. But it was a special unique pleasure to connect with the people behind five of these winning entries to find out insights like the spark that ignited the idea, how they managed to stay true to the vision of the project under time, budget and client pressures, and what it took to ensure that the level of quality would earn a Gold Cube. What I found was a common thread that is not unfamiliar to any creative person across the globe: passion always gets us there, but it’s also a simple belief in the power of art, it’s the unyielding desire to craft the best possible product — whether that is in illustration, motion, advertising, design or photography — that shows that we are all in the creative industries for the art of it all. Whether it was Alex Bogusky, an ADC Hall of Fame laureate and ADC Cube winner, John Boiler, who chaired the 91st Annual Awards Advertising Jury, Robert Wong, who serves on both the ADC Board of Directors and as Chairman of the Tomorrow Awards Monster Jury, or Emma Wilkie and the Gunn Report, who will be partnering with ADC at the 92nd Annual festivities, I found myself repeatedly inspired by the trajectory of their careers, their humble insights and their love for what they do. As we continue to publish Muse and dig in behind work that deserves a deeper look — hell, it all deserves a deeper look, for the surface is nothing to scratch compared to what lies beneath — it is my hope, and the hope of the ADC team and leadership, that the people we highlight on these pages inspire you as much as the work motivates us. Moving toward the 92nd Annual Awards and an outrageous celebration of the art and craft in advertising and design in Miami, we hope to see a new level of inventiveness and simple beauty in the work that is submitted. Your Cube is waiting.
Brianna Graves Editor of Muse Director of Content + Communications Art Directors Club
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NOV 2012 3
ADC HALL OF FAMER‘S WISDOM
He isn’t fearless. He just fears less.
PHOTO: JASON LEIVA
ALEX BOGUSKY
↑ We know him. We love him. And
the advertising world reveres him. Alex Bogusky is both a multi-time ADC Annual Awards Cube winner and a 2008 ADC Hall of Fame laureate. From a young designer who was convinced he was not smart enough to get into advertising to Adweek’s “Creative Director of the Decade,” Bogusky has manifested one of the most interesting and successful careers in the business.
4 NOV 2012
Did having two parental designers steer you into the industry, or did you find your own path toward the doors of advertising?
THE ART DIRECTORS CLUB (ADC):
ALEX BOGUSKY: It’s funny because design was sort of the family business so I never had it in my mind as something to aspire to. It was more just something that I was. Like being born into a family that owned a bakery. I didn’t think of the family trade as something I wanted. It was more of something I could always fall back on. When it was obvious that I wouldn’t be going to college because I was more interested in
racing motorcycles, my mom decided that she should teach me how to do “mechanicals” or “paste-up.” That doesn’t exist anymore, but it was the level below designer or art director in the studio where you made artwork camera-ready. At some point I ran out of money and options and took a job at an ad agency doing paste-up and operating the stat machine. Being in an agency was actually quite different than the design studios I was used to. I grew up reading Graphis and CA but I’d never seen an annual and this world of advertising seemed really exciting to me. The instant feedback
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ADC HALL OF FAMER‘S WISDOM
and relationship with the viewer and reader, and the additional weapon of copywriting seemed to fill in for me the things that had been lacking in design work. I spent a couple of years in that first agency job trying to learn and get better. It was frustrating, and by the end I was pretty much convinced I’d never be smart enough to work in advertising. So I went back to design and opened a little studio with my dad.
as an art director at [what was then] Crispin and Porter Advertising?
I think the ADC Hall of Fame laureate is probably the highest honor I’ve earned in my career.
ADC: Well, you
were clearly more than smart enough to make it back into the biz. How would you describe your first three weeks
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I think was originally a closet with Chuck Porter’s assistant. Chuck was the CD so technically he was my boss’ boss. Chuck liked the work I did so he would ask me to redesign my boss’ work. So Chuck’s assistant would keep an eye out and let me know if my boss was coming so I could quickly hide the work I was doing to redo his work. My boss caught me on multiple occasions, and obviously he’d be pissed and let me know that I had to let him know if Chuck asked me to do such a thing again. Then ten minutes later Chuck would come in with another ad to redesign and keep on the DL. Eventually I got promoted and that
ALEX: It was terrible, but fun. I didn’t know it was terrible at the time so it didn’t really matter. I shared what
NOV 2012 5
ADC HALL OF FAMER‘S WISDOM
problem went away. We were not very good in those early days. We weren’t absolutely terrible. I always estimated that we were the third or fourth best agency in Miami at the time (which would put you pretty far down the national ranking). The agency had been around for a long time and Chuck was relatively new, too. I think for a long time we had to slowly chip away at the original culture and rebuild it as a culture that truly supported great work. That aspect of our history is sort of unique. In that we started off as shit and got better and better. Most places go the opposite direction. What turned out to be positive about that experience was that we never feared growth. Because our experience with growth was that it made the work better.
and every single person plays a critical role or nothing good happens. I was lucky to be surrounded by a stellar group of people who decided to join CP+B in those early days. Those people today head up CP+B, but they also have a hand in running a lot of the world’s best agencies these days. It’s pretty stunning to think about the group of talent we assembled and what they continue to do.
ADC: Where
Early on we set a goal for ourselves to be the most talked about and written about agency in the world. We didn’t have awards as a goal because what we loved about advertising was the culture jamming. To be able to play in the cultural conversation with advertising in the same way it’s done in film and music was what got us off, and when the awards came it was really a byproduct of the fun we were having.
ALEX: Was it less than ten years? I’m not sure it really was. The question has an error in it that I need to correct before we go on. I didn’t take CP+B to the top. Advertising is a team sport
With MINI, Truth and BK, we really hit our stride and had decent budgets to put behind our ideas. The philosophies developed on smaller brands worked equally well on bigger brands and bigger budgets and we bet really heavy on digital. Our agency was more capable of actually fully producing
did you source the inspiration that drove you to take CP+B to the top in more ways than one in less than ten years?
6 NOV 2012
digital work than many digital agencies. It seemed obvious to me and it was obvious to others, but one of the differences was that we were still in control of our destiny and could make big investments in ourselves like that. As media first fractured, we became one of the only places to offer clients an answer to what to do with that bloated TV budget. After a while I ran out of challenges. We weren’t the underdog anymore, although I’d come up with rationalizations for why we were. And I wasn’t sure what sort of account or meeting or new business win filled a new category. But you put so much energy into getting going at that pace and that level that you can coast along for a long, long time. Coasting feels great on a bike. But not so hot in a business. ADC: CP+B was successful at more than one ADC Annual Awards gala. What is it about the Cube that is different from other shows, in your opinion? ALEX: The heritage of the ADC was what made it something you wanted. It was an award my dad knew. So that
ADC 92nd ANNUAL AWARDS
ADC HALL OF FAMER‘S WISDOM
was cool. ADC: What did it mean to you to join the ranks of George Lois, Bill Bernbach, Lee Clow, Leo Burnett, both Wieden+Kennedy and non-advertising greats like Andy Warhol, Milton Glaser, Jim Henson, Walt Disney and more as an ADC Hall of Fame laureate in 2008? ALEX: It meant a lot. Because of its history and the fact that it’s something my parents understand. I think the ADC Hall of Fame laureate is probably the highest honor I’ve earned in my career. I’m not even sure what a Hall of Fame laureate is, but my hope is that it’s a good thing. If it’s not good let me know so I can downgrade how I feel about it a bit. ADC:
What made you so fearless?
ALEX: I don’t know where this idea that I’m fearless comes from. I heard it a lot and then when we were doing our web show, I called it Fear Less because I feel fear a lot and about the only mastery I’ve attained over fear is that I try not to let my fear keep me from doing the things I want to do. You’d have to be insane not to feel fear.
When I was twelve years old I became afraid of school. I’d just sit there and cry. I didn’t know then what I was so afraid of and I don’t know now what I was so afraid of. But fear isn’t hung up on being rational. My father made me think about it rationally. Instead of telling me it was all going to be fine, he asked me, “What’s the worst thing that could happen?” not as a rhetorical question, but he’d make me actually answer and lay out the potential outcomes that I was so afraid of. The funny thing is, as bad as they might be, none of them ever turned out to be as bad as they seemed before I spelled them out. In fact, they usually made me laugh. That still works for me.
ADC: Some
find advertising to be the antithesis of social responsibility, yet you’ve repeatedly married the two successfully. Why? How? And to what end?
ALEX: Advertising has a parasitical relationship with business. Without business there is no advertising. And the level to which advertising is socially responsible is in direct relation to how socially responsible business
Muse
is. This is true on the meta level and it’s also true on a business-specific level. Advertising gives voice to the corporation and if that voice doesn’t sound socially responsible then we may need to dig a bit deeper. A liar doesn’t have a malfunctioning mouth any more than a socially responsible company can make socially irresponsible advertising. But are advertising and ad people just a tail to be wagged by the client or is there more potential than that? I personally believe that all companies want to have healthy and transparent relationships and conversations with their customers. There are usually a lot of legacy issues and systems that seem to make it almost impossible at times. It’s worth going hard at
unraveling these things and not just because it feels good or it’s the right thing to do, but because it is outrageously good for business. ADC: Well
said. Lastly, as a Miami native, what is your not-to-be-missed favorite hidden gem of a spot in South Beach?
ALEX: Odd. Only
one thing comes to mind: I’d skip everything else and go swim in the ocean.
NOV 2012 7
THE STATE OF AWARD SHOWS
THE GUNN REPORT
From an early start in the creative department at DDB London to identifying industry standards at The Gunn Report, Emma Wilkie has long been immersed in the creative world.
↑ The Gunn Report, created in
1999, is based on a simple idea. It combines the winners’ lists from all of the world’s most important award contests to establish the annual worldwide league tables for the advertising industry. →
Emma Wilkie, Managing Director of The Gunn Report, has been Donald Gunn’s collaborator and co-presenter of The Gunn Report since January 2003. THE ART DIRECTORS CLUB (ADC): What
was it about the advertising industry, or perhaps the creative work itself, that motivated you to join Donald Gunn to lead The Gunn Report?
EMMA WILKIE: I worked in the creative department of DDB London in the 1980s, before having my family, so joining The Gunn Report was a fascinating opportunity to be involved and gain a perspective on the industry as a whole, rather than from the viewpoint of just one particular agency in one particular country. ADC: What
8 NOV 2012
are your goals for The Gunn
ADC 92nd ANNUAL AWARDS
EMMA WILKIE
Report and what it provides to the advertising industry worldwide? EMMA: The
aim is to provide the industry with an independent overview of creative excellence and where the bar is left standing each year. No one jury ever gets it all right. Global and Regional and National perspectives sometimes differ… and are equally valid. Hence The Gunn Report combines the winners’ lists of all of the most important shows of the year— Global and Regional and National (top eighteen markets based on combination of creative strength and ad market size). 40 plus shows in total (carefully weighted to reflect relative geographic value). ADC: What was the first award show you ever attended and how do you remember the experience to be?
ADC: How many award shows do you typically attend each year and what are some of the best locations or environments you have found yourself in to see work awarded?
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the marketplace. ADC: Do
you think that most award shows reflect where the industry currently is or what the industry currently needs? If not, what could be improved upon in your opinion?
EMMA: Certainly the award shows that we include are, for the most part, an accurate reflection of where the industry is currently at, which is why we include them. However, there’s always room for improvement and those that are festivals, as opposed to one-off events, need to make sure they’re giving their delegates value for money by providing the best quality seminars and opportunities for networking with industry contemporaries.
Admittedly the advertising landscape is changing so quickly, it’s difficult for award shows to keep up.
EMMA: At the beginning of my career I attended many award shows, all of which followed a similar theme – one big party followed by one big hangover – so it’s difficult to remember the exact first one! However, I do vividly remember my first award show experience since joining Donald and The Gunn Report. It was Golden Drum, held in Slovenia, and I felt physically sick with nerves as I had to give my first ever speech. I have just delivered The Gunn Report presentation for the tenth year in a row, and am glad to say that I’m not quite so anxious these days!
EMMA: It
but I find myself zigzagging across the globe and usually visit each continent at least once, and some three or four times. It goes without saying that the award shows held in what are traditionally thought of as holiday resorts, rather than agency located cities, tend to have a more concentrated-yet-relaxed atmosphere, as delegates are there specifically for the event and not nipping to and from the office in between seminars and other events.
varies from year to year
ADC: Does it factor in to The Gunn Report’s mission to push a certain level of quality, or craft, in the industry overall, when agencies know that this barometer of creative excellence is being measured each year? EMMA: The Gunn Report is all about championing the most awarded and applauded creative work in the industry and hopefully setting the standard for the rest of the industry to aspire to. So yes, you could say that our mission is to push for a certain level of quality. It’s also imperative, given the overwhelming evidence from research (see the latest IPA/Gunn study) that proves the more creative work is, the more effective it is in
ADC: It seems in the past few years that it is becoming harder and harder to properly categorize and award entries and work. What is your take on this? EMMA:
Many award shows have a plethora of competitions, and of categories within competitions, which means the agencies, in their confusion, often end up entering the same ad or campaign many times. Admittedly the advertising landscape is changing so quickly, it’s difficult for award shows to keep up but it does seem to me that there are now far too many categories and it’s getting more and more difficult to know where a body of work fits in. Maybe it’s time for award shows to reassess the categorization of entries.
ADC: If you could design a dream award show experience, what would its top three features include? EMMA: Inspirational work, informative speakers and fabulously fun networking!
NOV 2012 9
CALL FOR ENTRIES
ADC 92ND ANNUAL AWARDS CALL FOR ENTRIES INFORMATION The time has come to enter your brilliance into the ADC 92nd Annual Awards. The early bird not only gets the worm, but a discount, as those who enter and check out by December 31, 2012 receive 10% off their entire order. The entries for the 92nd Annual Awards will be chaired and juried by talented leaders in design, illustration, advertising, interactive, photography and motion. Some category and deadline details have changed, so please review carefully and visit adcawards.org for more information, to learn about juries and chairs, and to reserve your place beachside at the awards gala and Festival of Art and Craft in Advertising and Design in Miami. THE JURY CHAIRS
ADVERTISING
DESIGN
PHOTOGRAPHY
Ted Royer Executive Creative Director Droga5
Garrick Hamm Creative Partner Williams Murray Hamm
Albert Watson Photographer
ILLUSTRATION
INTERACTIVE
MOTION
Christoph Niemann Illustrator/Author
Fernanda Romano, Creative Partner Naked
Kyle Cooper Partner Prologue Films
10 NOV 2012
ADC 92nd ANNUAL AWARDS
CALL FOR ENTRIES
ADVERTISING
ILLUSTRATION
GD131 LOGO/TRADEMARK GD132 PRESS/PROMOTIONAL KIT GD133 SELF-PROMOTION GD134 PROMOTIONAL APPAREL GD135 ANNOUNCEMENTS GD136 POSTCARD/GREETING CARD GD137 CALENDAR/APPOINTMENT BOOK GD138 MISCELLANEOUS (Stamps, Menus, etc.)
TV/FILM AD201 TELEVISION COMMERCIAL AD202 NONBROADCAST COMMERCIAL AD203 CINEMA COMMERCIAL AD204 TELEVISION SMALL BUDGET AD205 FILM TRAILER/TEASER RADIO AD206 RADIO COMMERCIAL BROADCAST CRAFT AD207 ART DIRECTION AD208 DIRECTION AD209 ANIMATION AD210 CINEMATOGRAPHY AD211 COPYWRITING AD212 EDITING AD213 TELEVISION MUSIC/SOUND DESIGN AD214 RADIO MUSIC/SOUND DESIGN AD215 SPECIAL EFFECTS AD216 TITLE DESIGN PRESS AD217 NEWSPAPER CONSUMER ADVERTISEMENT AD218 NEWSPAPER TRADE ADVERTISEMENT AD219 NEWSPAPER INSERT AD220 NEWSPAPER SMALL SPACE ADVERTISEMENT AD221 MAGAZINE CONSUMER ADVERTISEMENT AD222 MAGAZINE TRADE ADVERTISEMENT AD223 MAGAZINE INSERT AD224 MAGAZINE SMALL-SPACE ADVERTISEMENT PRESS CRAFT AD225 ART DIRECTION AD226 COPYWRITING AD227 TYPOGRAPHY POSTER OR BILLBOARD AD228 PROMOTIONAL AD229 POINT-OF-PURCHASE AD230 TRANSIT (Bus Shelter, Wrap, etc.) AD231 OUTDOOR/BILLBOARD AD232 ELECTRONIC BILLBOARD AD233 WILD POSTINGS
MAGAZINE EDITORIAL IL501 MAGAZINE COVER IL502 FASHION IL503 FOOD IL504 AUTOMOTIVE IL505 HEALTHCARE IL506 TRAVEL IL507 MISCELLANEOUS
POSTER DESIGN GD139 PROMOTIONAL GD140 POINT-OF-PURCHASE GD141 TRANSIT (Bus Shelter, Wrap, etc.) GD142 OUTDOOR/BILLBOARD GD143 ELECTRONIC BILLBOARD GD144 WILD POSTINGS GD145 POSTER TYPOGRAPHY
NEWSPAPER STORY IL508 NEWSPAPER FRONT PAGE IL509 FASHION IL510 FOOD IL511 AUTOMOTIVE IL512 HEALTHCARE IL513 TRAVEL IL514 MISCELLANEOUS
PACKAGE DESIGN GD146 ENTERTAINMENT GD147 RECREATION: SPORTS, TOYS or GAMES GD148 SOFTWARE/OFFICE GD149 FOOD/BEVERAGE GD150 FASHION/APPAREL/WEARABLE GD151 COSMETICS/PERFUME GD152 GIFT/SPECIALTY PRODUCT GD153 PRODUCT GRAPHICS (Electronics, Appliances, Housewares, etc.) GD154 MISCELLANEOUS PRODUCT DESIGN GD155 ENTERTAINMENT GD156 RECREATION: SPORTS, TOYS or GAMES GD157 SOFTWARE/OFFICE GD158 FOOD/BEVERAGE GD159 FASHION/APPAREL/WEARABLE GD160 COSMETICS/PERFUME GD161 GIFT/SPECIALTY PRODUCT GD162 ELECTRONICS, APPLIANCES or HOUSEWARES GD163 TECHNOLOGY PRODUCTS/INTERFACE GD164 MISCELLANEOUS ENVIRONMENTAL DESIGN GD165 WAYFINDING SYSTEMS/SIGNAGE GD166 WINDOW DISPLAY/MERCHANDISING GD167 TRADE SHOWS GD168 RETAIL/RESTAURANT/OFFICE/OUTDOOR or VEHICLE (also includes Street Art, Murals, Urban Planning, Lighting Design, Landscape Architecture, etc.) GD169 GALLERY/MUSEUM INSTALLATION
COLLATERAL AD234 DIRECT MAIL AD235 PROMOTIONAL AD236 POINT-OF-PURCHASE DISPLAY AMBIENT/ENVIRONMENTAL AD237 SMALL SCALE (Bars, Restaurants, Glasses, Beer Mats, Ashtrays, etc.) AD238 LARGE SCALE (Supersized Sites, 3-D and Nonstandard Shaped Sites, Ticket Barriers, Floor Media, Buildings, Street Furniture, etc.) AD239 SPECIAL EVENTS AD240 STUNTS/GUERRILLA INTEGRATED AD241 INTEGRATED DESIGN EDITORIAL DESIGN: NEWSPAPER GD101 NEWSPAPER STORY MULTIPAGE GD102 NEWSPAPER STORY SINGLE PAGE GD103 NEWSPAPER TYPOGRAPHY GD104 NEWSPAPER FULL ISSUE GD105 NEWSPAPER INSERT GD106 NEWSPAPER INFOGRAPHIC
BRANDING GD170 BRANDING CAMPAIGN GD171 TYPOGRAPHY SYSTEMS MOTION MO601 TV IDENTITIES/OPENINGS/TEASERS MO602 TITLE DESIGN MO603 FILM TRAILER/TEASER MO604 MUSIC VIDEO MO605 ANIMATION MO606 ANIMATED LOGO MO607 ART DIRECTION MO608 DIRECTION MO609 CINEMATOGRAPHY MO610 EDITING MO611 SPECIAL EFFECTS MO612 TYPOGRAPHY MO613 MOTION GRAPHICS PHOTOGRAPHY MAGAZINE EDITORIAL PH401 MAGAZINE COVER PH402 FASHION PH403 FOOD PH404 AUTOMOTIVE PH405 HEALTHCARE PH406 TRAVEL PH407 MISCELLANEOUS
EDITORIAL DESIGN: MAGAZINE GD107 MAGAZINE STORY MULTIPAGE GD108 MAGAZINE STORY SINGLE PAGE GD109 MAGAZINE TYPOGRAPHY GD110 MAGAZINE FULL ISSUE GD111 MAGAZINE INSERT GD112 MAGAZINE COVER GD113 MAGAZINE INFOGRAPHIC BOOK DESIGN GD114 BOOK JACKET GD115 TEXT-DRIVEN BOOK GD116 IMAGE-DRIVEN BOOK GD117 LIMITED EDITION/PRIVATE PRESS or SPECIAL FORMAT BOOK GD118 MUSEUM, GALLERY or LIBRARY BOOK GD119 UNIVERSITY PRESS BOOK GD120 CHILDREN’S BOOK GD121 REFERENCE/HOW-TO BOOK GD122 TYPOGRAPHY CORPORATE/PROMOTIONAL DESIGN GD123 ANNUAL REPORT GD124 BOOKLET/BROCHURE GD125 NEWSLETTER/JOURNAL or HOUSE PUBLICATION GD126 TECHNICAL/INSTRUCTIONAL MANUAL GD127 CORPORATE IDENTITY MANUAL GD128 CORPORATE IDENTITY PROGRAM GD129 STATIONERY SERIES (Letterhead, Envelope, Business Card) GD130 BUSINESS CARD
NEWSPAPER STORY PH408 NEWSPAPER FRONT PAGE PH409 FASHION PH410 FOOD PH411 AUTOMOTIVE PH412 HEALTHCARE PH413 TRAVEL PH414 MISCELLANEOUS PHOTOGRAPHY GENERAL PH415 BOOK (Commercially Published) PH416 BOOK JACKET PH417 CORPORATE/INSTITUTIONAL (Annual Reports, Brochures, etc.) PH418 SELF-PROMOTION PH419 CALENDAR or APPOINTMENT BOOK PH420 POSTER or BILLBOARD PH421 MISCELLANEOUS PH422 MAGAZINE ADVERTISEMENT PH423 NEWSPAPER ADVERTISEMENT PH424 POSTER or BILLBOARD ADVERTISEMENT PH425 PHOTO-ILLUSTRATION
ILLUSTRATION GENERAL IL515 BOOK (Commercially Published) IL516 BOOK JACKET IL517 CARTOON/COMIC BOOK (Commercially Published) IL518 CORPORATE/INSTITUTIONAL (Annual Reports, Brochures, etc.) IL519 SELF-PROMOTION IL520 CALENDAR or APPOINTMENT BOOK IL521 POSTER or BILLBOARD IL522 MISCELLANEOUS IL523 MAGAZINE ADVERTISEMENT IL524 NEWSPAPER ADVERTISEMENT IL525 POSTER or BILLBOARD ADVERTISEMENT IL526 PHOTO-ILLUSTRATION INTERACTIVE WEBSITE IN301 WEBSITE IN302 CAMPAIGN SITE IN303 E-COMMERCE EXPERIENCE IN304 BLOGS SOCIAL IN305 COMMUNITIES/MICROBLOGGING IN306 SOCIAL NETWORK PLATFORM IN307 SOCIAL NETWORK APPLICATION IN308 ONLINE GAME ONLINE CONTENT IN309 BANNERS IN310 VIRAL VIDEO IN311 SHORT FILMS/ANIMATED SHORT IN312 NONBROADCAST MEDIA IN313 PODCAST/WEB SERIES IN314 EMAIL MARKETING IN315 ORIGINAL WEB COMMERCIALS IN316 ONLINE GUERRILLA IN317 DATA VISUALIZATION (Infographics, etc.) IN318 ONLINE GAME PHYSICAL IN319 INSTALLATION IN320 INTERACTIVE KIOSK IN321 ALTERNATE REALITY GAME IN322 BRANDED IN-GAME EXPERIENCE MOBILE IN323 MOBILE WEBSITE IN324 MOBILE APPLICATION IN325 DIGITAL PUBLISHING (iPad, Kindle, Nook, etc.) IN326 MOBILE EXPERIENCE MARKETING IN327 DATA VISUALIZATION (Infographics, etc.) IN328 MOBILE GAMES IN329 AUGMENTED REALITY CRAFT IN330 ART DIRECTION IN331 USE OF TECHNOLOGY IN332 CONTENT/COPYWRITING STUDENT THESIS Students who have worked on a project that does not necessarily fit one of the predetermined categories may enter the Student Thesis category by choosing the channel that most appropriately reflects their work. ST701 DESIGN ST702 ADVERTISING ST703 INTERACTIVE ST704 PHOTOGRAPHY ST705 ILLUSTRATION ST706 MOTION DESIGNISM AWARD ADC Designism explores the responsibilities of creatives to drive social and political change through their work. Any work you enter into any of the non-profit categories can be considered for the Designism award for an additional $50 upon registering.
ELIGIBILITY REQUIREMENTS: Note: A winning entry is not guaranteed in every category. PROFESSIONALS: All entries must have been printed, published, aired, or broadcast live online for the first time in any country between February 7, 2012 and February 4, 2013. STUDENTS: Students currently enrolled in undergraduate, graduate, and continuing education programs in advertising, graphic design, photography, illustration, and digital media are eligible for the competition and invited to submit published or unpublished work in any category, except integrated. REGISTRATION AND SUBMISSION GUIDELINES: All work must be entered online at www.adcawards.org. All information regarding entry registration, mounting, packing/shipping, and payment can be found on the website. ALL ADVERTISING CATEGORY ENTRIES MUST BE AT THE ADC GALLERY IN NEW YORK BY FEBRUARY 6, 2013. THIS YEAR WE WILL BE JUDGING IN COSTA RICA. IF THE WORK HAS NOT ARRIVED BY THIS DATE, IT WILL NOT BE JUDGED.
DEADLINES
DESIGN, MOTION, PHOTO & ILLUSTRATION JAN 11TH 2013
INTERACTIVE JAN 18TH 2013
Please note that deadlines will NOT be extended this year. The above are firm deadlines.
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ADVERTISING JAN 25TH 2013
STUDENT JAN 11TH 2013
adcawards.org NOV 2012 11
CALL FOR ENTRIES
ENTRY FEES: DESIGN
ADVERTISING
ILLUSTRATION
PRINT/PACKAGING/PRODUCT
TV/FILM
SINGLE: $100
SINGLE: $200
SINGLE: $350
SERIES: $150
SERIES: $250
CAMPAIGN: $500
INTERACTIVE ENVIRONMENTAL SERIES: $250
MOTION
RADIO
SINGLE: $250
SINGLE: $250
CAMPAIGN: $300
CAMPAIGN: $400
STUDENT ENTRIES
SINGLE: $200 SERIES: $250
PRESS/POSTER/
$35 PER ENTRY IN
COLLATERAL/AMBIENT
ANY CATEGORY.
BRANDING
SINGLE: $300
SERIES: $300
CAMPAIGN: $450
SCHOOLS/STUDENTS
INTEGRATED CAMPAIGN: $500
ENTERING 10 OR MORE WORKS WILL PAY $25 PER ENTRY.
PHOTOGRAPHY SINGLE: $100 SERIES: $150
EARLY BIRD DISCOUNT (professional entries only): Enter your work and check out before December 31, 2012 and receive 10% off your ENTIRE order! ALL ADVERTISING CATEGORY ENTRIES MUST BE AT THE ADC GALLERY IN NEW YORK BY FEBRUARY 6, 2013. THIS YEAR WE WILL BE JUDGING IN COSTA RICA. IF THE WORK HAS NOT ARRIVED BY THIS DATE, IT WILL NOT BE JUDGED.
DEADLINES
DESIGN, MOTION, PHOTO & ILLUSTRATION JAN 11TH 2013
INTERACTIVE JAN 18TH 2013
ADVERTISING JAN 25TH 2013
STUDENT JAN 11TH 2013
Please note that deadlines will NOT be extended this year. The above are firm deadlines.
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ADC 92nd ANNUAL AWARDS
FESTIVAL OF ART AND CRAFT IN ADVERTISING AND DESIGN
WHY MIAMI?
We’re certain Miami is the perfect location to celebrate the winners of the 92nd Annual Awards. Let us tell you why.
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+ It’s true that South Beach is known for its babes, bikinis and bars. And don’t get us wrong, there are plenty of all three covering Miami’s sunny shores. But the ADC is inspired by Miami for an infinite number of reasons beyond the Three B’s. Here are our Top 10 reasons: 01. THE CUBAN COFFEE
This is no Starbucks. This is a café Cubano. You don’t walk or run with it. You must pause your day, order one from the many ventanas (windows) in Miami, and sip its unique sweetness while enjoying the view. Warning: the entire ADC staff is now addicted to these, especially from David’s Café (1058 Collins Avenue, South Beach). 02. THE LATIN FOODS
Our favorite Cuban dishes have funny names like “Ropa Vieja” (Old Clothes) and “Vaca Frita” (Fried Cow), but once you try them it will be your stomach that constantly smiles. Go where the locals go, to Las Olas (644 6th Street South Beach).
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03. THE ART WALK
07. SHOPPING
During the second Saturday of every month, every gallery in the Wynwood district opens up its doors to the public. You’ll find yummy street food, music, drinks and tons of art of all kinds (wynwoodartwalk.com).
In Miami, this is not an activity, it’s a sport. Lincoln Road offers everything from Versace to Prada, but for some high end air-co shopping try Bal Harbour Shops (9700 Collins Avenue).
04. THE COCKTAILS
There is no better way to posh it up than to start at the W South Beach and to cocktail your way down Lincoln Road through posh-central hotels like the Shore Club, Delano and the Setai.
Latin America gave birth to mojitos, caipirihnas and margaritas and there is no better place to enjoy them than the outdoor street bar and local staple, Segafredo (1040 Lincoln Road, South Beach). Sip away on a (strong) concoction while enjoying people watching as the most peculiar ‘flora and fauna’ of Miami warm up to hit the night. 05. THE BEACH
It’s clean, it’s gorgeous and it’s never more than three blocks away from you at all times. Can’t miss it, so don’t miss it. 06. THE STARS
Go slobber over the playground of the rich and very famous in a Boat Tour of Biscayne Bay and Millionaire’s Row (islandqueencruises.com).
08. HOTEL SURFING
09. MUSEUMS
Get some cool AC and visual inspiration right on the beach. Bass Museum of Art (2100 Collins Avenue), Wolfsonian (1001 Washington Avenue), or if you’re feeling kinky, the World Erotic Art Museum (1205 Washington Avenue). 10. ART DECO WALK
Neon, pink and baby blue are not just staples in Don Johnson’s wardrobe, it’s what the DNA in Miami is made up of. No better place to experience it than on Ocean Drive, where you’ll stroll along a myriad of old school hotels, vintage cars and the veritable Versace mansion.
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HERE COMES THE SUN
SERVICEPLAN AND THE SOLAR ANNUAL REPORT With Alexander Nagel and Cosimo Möller, Creative Directors, Serviceplan
THE ART DIRECTORS CLUB (ADC): First
of all, how did this unique idea come to life? What was the inspiration? ALEXANDER NAGEL AND COSIMO MÖLLER:
Austria Solar asked us to create their annual report. So we sat down outside the agency to think about the briefing. It was a warm and sunny day in autumn, the sun was shining onto our white papers, and the reflection dazzled so much that we couldn‘t read our notes. So we looked at each other, both thinking the same thing: why not vice versa? And the idea was born.
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ADC: Did you realize the magic of this simple idea instantaneously or did it take some finessing? ALEXANDER AND COSIMO: We
liked the idea because it was so convenient for our customer. But it really took the two of us some time to realize the uniqueness and power of the idea. ADC: Did you have to develop special materials, such as ink or paper, to achieve your objective? How did you do so and how did this technology work? ALEXANDER AND COSIMO: Yes, it was real hard work. First of all we had to find a print office to experiment together with us to find the right mixture of the photo-chromatic colors, the right paper, etc. It took us weeks and lots of courage to develop and reach our final goal. ADC: Beyond the obvious objective of highlighting Solar Austria’s expertise,
what did you want to demonstrate in the development of this report? ALEXANDER AND COSIMO: Well, our client asked us to develop a remarkable medium, which portrays Austria Solar as a consistently innovative inter-trade organization of the Austrian solar industry. And solar energy is the main business of our client Austria Solar, which is why we thought about how we could put this energy to paper. With this result we wanted to ensure Austria Solar was portrayed as the innovative organization that they are.
← Alexander Nagel and Cosimo Möller, Creative Directors, Serviceplan
ADC 92nd ANNUAL AWARDS
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It took a little too much sun during a brainstorm to enlighten Serviceplan creative directors Alexander Nagel and Cosimo Möller as to how to treat the development of Austria Solar’s annual report. An idea that earned the pair and Serviceplan a Gold Cube in graphic design at the 91st Annual Awards.
PHOTO BY: LOREM IPSUM DOLORE
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LET’S MAKE SOME GREAT ART BY LAURENCE KING PUBLISHING With Illustrator Marion Deuchars
I created a promotional doodle / activity book, beautifully produced and printed by Angus Hyland (partner at Pentagram). They were given away when you purchased art materials in the children’s department of London’s biggest chain of art materials stores, Cass Art. We produced about 10,000 and one ended up on Laurence King’s desk, and he thought it was a lovely book idea — which is how “Let’s Make Some Great Art” (Laurence King) came about.
MARION DEUCHARS:
ADC: While
the book is touted for artists of all ages (and it certainly works as such!), some have called it an illustration and activity book for children. Who was the original audience intended to be? MARION:
I did originally think it would
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be for children but realized very early on whilst making the book that it could be for anyone. The activities I was coming up with were ageless, just as making art is. The only difference is that a five year old would approach the activity differently to a 45-year-old, probably with less fear. Many of the activities in the book were conceived as overcoming that ‘fear’ of drawing that only adults have. ADC: Was it your choice, the publisher’s choice or was there a different intention entirely for the twelve artists who were featured throughout “Let’s Make Some Great Art?” Why those twelve? MARION: I think they were mainly my choice. The idea was just to choose some obvious big name artists that were most popular in Western Culture, but I also had very good consultation from my editor and Laurence King Publishing’s Donald Dinwiddie, who knew his stuff. My follow up book to
“Let’s Make Some Great Art” will have between 20 and 30 artists, and that is a much harder challenge. I keep changing my mind about who should be in it. It’s hard not to have a bias to the West, but I’m trying to open it up a bit more and to be more eclectic in the choice. ADC: What is it about the craft of creating art and what it has meant to people throughout the ages that you think resonated so well with readers (and artists-in-training) of “Let’s Make Some Great Art?” MARION: I think maybe there is an instinctive fear of losing something very special. We are becoming more and more screen-based and less hands-on. I think a counterculture has emerged to deal with that, not only in drawing but also in many crafts like knitting and sewing. Public speaking is also very popular. I think there is a need to engage in the real physical world to help deal with the amount
ADC 92nd ANNUAL AWARDS
PHOTO BY: LOREM IPSUM DOLORE
THE ART DIRECTORS CLUB (ADC): What was the spark that connected you with Laurence King Publishing to create the book “Let’s Make Some Great Art?”
↓Laurence King Publishing took home a Gold Cube in Illustration for Let’s Make Some Great Art at the ADC 91st Annual Awards.
of time we spend in the virtual world. Picking up a pencil and a piece of paper and drawing is real, super real.
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ADC: “Let’s Make Some Great Art” won the ADC’s only gold Cube in Illustration in the 91st Annual Awards, as well as numerous other industry awards. Aside from these accolades, what kind of feedback have you received in regards to people’s experience with the book? MARION: I’ve had a lot of feedback, mainly from parents who tell me how much their children have enjoyed the book. But also from many adults who have discovered the book is for them, too. The thing I’m happiest about is when people tell me it has made them enjoy art again. It’s like they have rediscovered something that they used to do and love but have forgotten about. We all draw as children, and then most of us give up when we think we are not good enough. It’s a
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shame because that world we inhabit in drawing, before we worry about what skill it possesses, is a most magical time. It’s a time when we lose ourselves in creativity, and with this book I really tried to help people overcome their fear of drawing and get back into that world. ADC: What has the experience of creating this book meant to you personally? MARION: I think it’s changed me more than I had anticipated! When I was making the book, I felt it was just a way of sharing what I know and love. Now since making the book, I feel like I am ‘campaigning for drawing.’ I never thought it would need saving, but I think maybe we need to remind people all the time that a drawing app is great, but a drawing in reality is ten times better. When children draw on a piece of paper, it’s their world, it’s their ideas, and it’s their mistakes, not
anyone else’s. Those mistakes in art are so important. The machine makes you want to ‘clean up’ those mistakes instinctively, but in a drawing you learn from them. I’ve been involved in many workshops, mainly for children, but also adults. Meeting your audience has a profound effect! Not only do I see ideas come alive, but I can see the pleasure that comes from making art, and especially making messy art. In a workshop with many people, about half way through, a stillness develops within the group and it goes very quiet. They are all lost in their own creative moment and all I can hear are the sounds of scribbling and breathing. That makes me very happy. ← Marion Deuchars at work in her studio.
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A JURY CHAIR’S PERSPECTIVE
JOHN BOILER ON JURY DUTY A glimpse into the inner workings of judging, and what we might expect at the 92nd Annual Awards next year.
John Boiler, 91st Annual Awards Advertising Jury Chair and President of 72andSunny
THE ART DIRECTORS CLUB (ADC): How did you feel about being asked to chair the ADC 91st Annual Awards advertising jury?
Honored. It’s one of the most prestigious shows in our business, and as a designer by trade, it has always represented work that I aspire to create; great ideas executed with astonishing craft.
JOHN BOILER:
ADC: What was your experience with, and perception of, the Art Directors Club prior to chairing the advertising jury? JOHN: Although I have always loved the show, my perception was that it might be getting a bit dusty, frankly. That the attention of the organization and show to craft might be driving it into an advertising cul-de-sac, where some of the more progressive forms are not recognized. Nothing could be further from the truth. The judging panel was very attracted to emerging experiential and digital expressions as
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much as the more conventional but simply applied a higher standard of executional excellence to them as well. I think that’s why you see a few surprises in this show that hold it apart from some others. ADC: Can you describe the experience of judging the work, and guiding the jury to uphold the ADC’s commitment to the craft in advertising and design? Was it hard to pull away from focusing solely on ROI and results, and instead keeping the focus on the art of what we do?
Not really. Although the case study video has elevated the story of the success of a campaign as you blur by each individual component and execution, I found that the judges did engage in meaningful debate around the craft of individual pieces. Sometimes even identifying a weak spot in an otherwise excellent entry as reason to expel it from the medal JOHN:
round. I think that kind of rigor is pretty important ongoing. ADC: What were your top takeaways and/or reflections after seeing the work that was entered? JOHN: First, that putting a first-class experiential piece at the center of a campaign can have startling impact when it’s executed really well. Next, that our craftsmanship in the print category is slipping, and that emerging students from SVA are taking the pros to school right now. ADC: Any predictions for what the 92nd Awards jury chair might see in 2013 coming out of the advertising industry? JOHN: I’m guessing that there will be even more experiential stuff being awarded, and that the art form of the integrated case study will continue on its march toward the one-hour marketing docudrama.
ADC 92nd ANNUAL AWARDS
92ND ANNUAL AWARDS JUDGING While the Design, Illustration, Photography and Motion juries will hold down the fort under the invincible lights of the Big Apple, the Advertising and Interactive juries will be held hostage a bit further south. For the first time in 92 years, both the Advertising and Interactive judging will take place in the Guanacaste province of Costa Rica at Playa Tamarindo and the Tamarindo Diria Beach and Golf Resort. Advertising Jury Chair Ted Royer and Interactive Jury Chair Fernanda Romano will lead the juries through mountains of stellar entries (be sure your entries arrive in New York by February 6, 2013 in order to be judged!) and no one will be let out into the sunshine until the best of the best and the true warriors of art and craft in advertising have been identified. Will that be you?
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ON EARTH AS IT IS IN HEAVEN THE NEW YORK TIMES MAGAZINE With Design Director Arem Duplessis and Director of Photography Kathy Ryan
Sebastião Salgado came to our offices in March 2011 to present the photographs from the “Genesis” project he had been working on for six or seven years at that point. Salgado traveled all over the globe in search of pristine places that have not been spoiled by man. The majestic photographs showed stunning natural landscapes that look today as they looked thousands of
KATHY RYAN:
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years ago. The work took our breath away. We were particularly taken with the photographs made in Alaska, and Hugo Lindgren, our editor-in-chief, decided that we should publish them in a special issue of the magazine focused on travel that we would be publishing on June 12, 2011. AREM DUPLESSIS: The
most difficult part of the process was narrowing down which images to use in the portfolio. Like most magazines, we only have a certain amount of pages to dedicate to one topic, so we had to choose carefully. “Genesis” was one of those rare moments when we had an
overabundance of stunning imagery. The editing process was anything but easy. ADC: Were you aware of Salgado’s “Genesis” project prior to him embarking on the voyage, or at what point and how did his work collide with the New York Times Magazine’s intentions for such a feature? KATHY: I can’t remember when I became aware of the “Genesis” project. Most of the portfolios we publish are assigned by us, but occasionally something incredible like this comes along that is newsworthy,
ADC 92nd ANNUAL AWARDS
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THE ART DIRECTORS CLUB (ADC): Can you talk a bit about the process of creating and producing an editorial series like “On Earth As It Is In Heaven?” What is involved from concept to publication?
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The New York Times Magazine took home a Gold Cube in Photography for On Earth As It Is In Heaven at the ADC 91st Annual Awards. and in this case fit in nicely with our editorial plans for an upcoming issue. That was the case with these extraordinary photographs by the legendary Sebastião Salgado. ADC: When
one looks at the “On Earth As It Is In Heaven” series, the most arresting element is the way the layouts truly make each photo the hero. Did you and your teams work closely with photographer to determine the look for this spread, or more independently to deliver on your own vision for the magazine? KATHY: We worked independently in laying out these photographs. Sebastião did not take part in the layout process.
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AREM: The
process is pretty straightforward. The photographer, in this case Sebastião, sends us a selection of photography that he feels good about and we get to work. The design and photo teams agree on which pictures to use based on a careful editing process. The art department then places the imagery into the layout, and we present it
to the editor. Once the imagery is approved we make type, image sizing and pacing decisions. In this particular case, we knew we had the goods so we made a conscious decision to let the type play a secondary role in the layout. The opening headline is equivalent to a whisper compared to the large Arctic Ocean image that opens the story. ADC: With the black and white contrast in such untouched, remote and pristine locations, it’s hard for a viewer to even believe the photos are real. What was the primary emotion you were trying to evoke in readers and viewers? KATHY: We wanted the readers to be as awestruck by these photos as we were. We hoped to convey the stunning beauty and dazzling grandeur of these untouched spots on earth. We wanted to evoke paradise.
way as possible, so as to allow the extraordinary beauty and power of these images to shine forth. We realized that the photographs say it all in this case. AREM: We
have the unique pleasure of having careers, and jobs for that matter, that are not just about collecting a paycheck. We actually enjoy what we do, we have fun and we’re passionate about it. We work extremely hard at curating the New York Times Magazine and it’s nice to have an organization like the Art Directors Club, which has the power to put together some of the world’s most talented and respected judges. We spend hours, if not days, perfecting this work. We want to make sure that it stands out, and we want to make sure we’re putting out a great product from week to week.
ADC: The most important thing to the ADC — and likely why this work won a Gold Cube — is honoring the art and the craft in all aspects of design and visual communications. Can you comment on the importance of craft in the work that you and your teams do?
← Design Director Arem Duplessis and Director of Photography Kathy Ryan
KATHY: Our role in this was to present the work in as elegant and simple a PHOTO: MARVIN ORELLANA
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LOOK INTO THE SWEET SPOT ART+COM’S ANAMORPHIC MIRROR With Joachim Sauter, Executive Creative Director, ART+COM
JOACHIM SAUTER: The
idea for “Anamorphic Mirror” was derived from both the brief and the spatial situation given. Deutsche Bank asked us to create an installation for the vestibule of the Headquarters brand and conference area, including the iconic logo that Anton Stankowski developed in 1974, which constitutes the bank’s most important visual asset. Our aim was to avoid a huge logo object that would dominate the small 25 square foot space, but instead to go for a less obtrusive and poetic translation. Moreover, we wanted to include the process of approaching the conference area via a short staircase to the reception experience, as visitors can already look at the entry while climbing the steps. Thus, we decided to base the installation on the principle of anamorphosis: what you see changes as you change
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your perspective and your position in space. The image only fully resolves itself when arriving at the top of the staircase and standing in the “sweet spot.“ ADC: What kind of individuals or companies did you have to partner with to bring this installation to life?
In the whole project, including the design of BrandSpace, we collaborated with the architects of Coordination, Berlin. A small Berlin craft company named Interzone did the construction of the faceted 3-D mirror surface. ag licht helped us with light-planning and the installation of the spotlights.
JOACHIM:
ADC: What determined where in the building this installation would be featured? Was the staircase, and the way that the logo becomes visible in the mirrors by climbing the staircase, intentional or a beautiful byproduct of the building’s layout?
JOACHIM: The
installation was commissioned and created for this particular space and we decided to make use of the staircase for its reception. Standing at the bottom of the stairs, visitors initially see seemingly random blue reflections in the mirror’s individual surfaces. Through their own movement, visitors then generate a kind of filmic perception: a new frame in a sequence appears with each step visitors take up the stairs. In this manner, a moving narration is created from a static surface. As they get closer, the blue light reflections begin to take shape until they resolve into the bank’s blue logo when the visitors reach the “sweet spot” at the top of the stairs.
ADC: This beautiful installation incorporates the visitor into the experience via the mirrors. Was it important to you and the way you designed this to ensure that it had that element of interactivity?
ADC 92nd ANNUAL AWARDS
PHOTO BY: LOREM IPSUM DOLORE
THE ART DIRECTORS CLUB (ADC): What inspired the use of anamorphosis?
↓ ART+COM took home a Gold Cube in Design for Anamorphic Mirror at the ADC 91st Annual Awards.
JOACHIM: Yes, the
visitors take center stage. It’s only through their movements toward the mirror that the logo assumes its form. When reaching the top of the staircase and being reflected by the installation, they even become part of it. You can observe that the principle of anamorphosis leads to a playful moment when viewers take different positions to find out how it works. This kind of interaction certainly encourages greater attention and memorization, as the viewer is not only confronted with the information, but gets involved.
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ADC: What kind of feedback have you received from the client and the customers since the mirrors have been installed?
In short, we have received lots of compliments that referred to the installation as appearing so simple, yet resulting in an extraordinary impact. Oh, and by the way, no Deutsche
JOACHIM:
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Banker has used it to correct his tie or her lipstick. The installation seems to be respected as a communication piece. ADC: Have you used this anamorphosis format in any interesting ways since? JOACHIM: The
mirror is “only“ an overture and sets the motive of anamorphosis for the three largescale anamorphic installations in the BrandSpace behind. The brand’s history and values are communicated here via a reactive, an interactive and a kinetic anamorphic logo. We, as “new media“ designers, really like that old principle which came up in the Renaissance. ← Joachim Sauter, Executive Creative Director, ART+COM
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CONNECT | ELEVA (L–R) Ted Royer, ECD, Droga5/ADC 92nd Awards Advertising Chair Ted is wearing a 2 pc. black sateen striped wool suit with slant pockets and notch lapels. William Gelner, ECD, 180 LA/ADC 92nd Awards Advertising Judge William is wearing a 3 pc. blue & black cross-weave wool suit with slant pockets and slim notch lapels. Cindy Gallop, Entrepreneur/Speaker/ADC Member Cindy is wearing a purple & black wool plaid halter vest and flair pants. Rick Boyko, Educator/Entrepreneur/CCO/AAF Hall of Fame Member/ADC Member Rick is wearing a 3 pc. black & cream cross-weave bamboo suit with slant pockets and slim peak lapels. Ignacio Oreamuno, Executive Director, ADC Ignacio is wearing a 3 pc. striped light heather grey wool suit with slant pockets and notch lapels. Photography by Elias Wessel
ATE | DEFINITELY PROVOKE The Art Directors Club invites its friends to look as arresting as their creations. In partnership with digital bespoke fashion house ACUSTOM APPAREL, the ADC is offering our members the chance to purchase one ACUSTOM suit — designed to your exacting specifications — and receive two ACUSTOM tailored shirts for free. ACUSTOM APPAREL bespoke suits start at $798 US. Contact acustom@adcglobal.org for more provocative information.
LETTING THE FUR FLY WITH THE BETC BEAR With Stéphane Xiberras, President, Chief Creative Officer, BETC
is Canal+’s positioning and thus the objective and emotional response you were attempting to evoke in viewers with “The Bear”? STÉPHANE XIBERRAS: The
films we make for Canal+ are always a taste of what the channel has to offer. So we always try to do something as good creatively, both when it comes to the form and to the storytelling. It is always built up like a little short story.
ADC: What
was the most challenging moment of the shoot for “The Bear” spot? STÉPHANE: The script was good on paper, but I was terrified by its feasibility. I’m very wary of all CGI — I have used it a lot and not always very successfully. In this case it was crucial that the bear image looked alive, to the point where we forget that we’re actually watching a rug made of a dead beast! We decided to do the
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motion capture with an extraordinary actor, and when we saw him in action, we knew that we had nailed the film before even switching on a single postproduction computer. ADC: How did you ensure your desired level of quality in the craft of the making of “The Bear”; making sure the humor and the cinematography, for instance, matched the caliber and vision of the art direction? STÉPHANE: It was thanks to the talented director, with whom we worked when we made “The Closet” two years ago. He’s a man who pays a lot of attention to details and at the agency we have very high standards when it comes to crafting. The combination of the two delivered the desired result. ADC: Describe
your feelings after awards season, when you had taken home top honors at all of the major shows, including a collection of ADC 91st Annual Awards Cubes.
STÉPHANE: It’s really great to win awards because it means your work is recognized by some of the greatest creatives in the industry. It boosts confidence and shows younger people that anything is possible. But the other reward is to see the reactions (laughter in our case) from the audience at the festivals! ADC: Was the Bear really hard to work with? He seemed to be a diva. STÉPHANE: The guy is built like a mountain, he’s got a really filthy character, he’s a tyrant and his fingernails are too long… but what talent!
← Stéphane Xiberras, President and Chief Creative Officer, BETC
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THE ART DIRECTORS CLUB (ADC): What
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↓ BETC was awarded Agency of the Year, and also won three Gold Cubes and one Silver Cube for “The Bear” campaign for Canal+ at the ADC 91st Annual Awards.
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CHAIRMAN OF THE TOMORROW AWARDS MONSTER JURY
ROBERT WONG
↑ The Tomorrow Awards is the international award show that supports the mission of the ADC through its dedication to discovering, showcasing and awarding advertising creativity that pushes new technological boundaries. Since the very best examples of such work are those that defy most award show categories, the Tomorrow Awards is category-neutral. A panel of Monster Judges determine the winners, with Robert Wong as the Chairman of the Tomorrow Awards Monster Jury.
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What it takes to judge the work of the future and lead the advertising industry.
THE ART DIRECTORS CLUB (ADC): What
do you think the challenges and obstacles are for people in the advertising industry to actually move things forward? Every agency says they’re forward thinking, but to say it and to exhibit it are two different things. I believe there is desire from all parties to move forward. Everyone knows that you have to innovate and change to stay relevant. Everyone has the heart to do it, but at the end of the day, it’s just hard. The legacy systems in place stop progress from happening as fast as everyone wants it to. There’s the kind of talent we have, the kind of talent we hire, the kind of industries that exist to support this industry. There’s how marketers buy stuff, the process that’s been built, decades of how things should work.
ROBERT WONG:
I mean all of that stuff is constantly getting tinkered with, so it just takes time and energy to move forward. I believe the Tomorrow Awards help with this because people get to see things that really inspire them. People get a personal glimpse into how things could be, and that’s the motivation that drives them to move forward and roll big huge boulders uphill. ADC: Are
there any interesting models of progress that you’ve witnessed that could help to shift the legacy systems that are in place?
ROBERT: One way I’ve seen progress happening really well is when there are little units that stand outside of the existing model in a lab-like environment. It doesn’t matter
ADC 92nd ANNUAL AWARDS
ADC BOARD OF DIRECTORS
whether those units are on the client side, in an agency or an internal creative team; I think it’s usually a good way to start. Within a lab-like environment, things happen that make everyone say, “Oh, I want to make more of that!” and somehow that lab output gets brought back into the core machine that makes the majority of this stuff. ADC: You
have had quite a distinctive group of creative talent on your Monster Juries. What is your direction to them? What advice do you give in that room to help them decide which entries are worthy of recognition?
Well, the judges are all ten times smarter than me, so they don’t really need any advice [laughs]. I think they’ve all demonstrated that they have made stuff that has moved things forward, so I’m open to learn more from them than the other way around.
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ROBERT:
The Tomorrow Awards are very pure in the sense that it’s a pretty simple thing to grasp. With a lot of award shows, you end up sitting in a room where everyone is debating whether a certain entry should be in one category or the next, and if they belong where they are entered. With the Tomorrow Awards and its lack of categories, there is none of that. The reflection is more of, “Hey, is this going to drive things forward? Will it inspire people to think differently, to act differently?”
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L-R: Sergio Mugnaini, Creative Director, AKQA; Robert Wong, Chief Creative Officer, Google Creative Lab; Tony Granger, Global Chief Creative Officer, Y&R; Mark Chalmers, Creative Partner, Perfect Fools; Rei Inamoto, Chief Creative Officer, AKQA; Colleen DeCourcy, CEO, Socialistic.
Everyone knows that you have to innovate and change to stay relevant. Everyone has the heart to do it, but at the end of the day, it’s just hard.
ADC: Before
the work reaches the Monster Judges, it must pass through hundreds of Public Judges, who don’t necessarily have the track record that your Monster Jury has when it comes to creating innovative work. What advice would you give these people so that they can not only judge wisely, but also learn and be inspired while doing so?
ROBERT: There will always be entries that people are naturally going to be drawn to. There will be work that inspires, excites, makes your heart
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beat faster and makes you say, “Oh damn, I wish I did that!” I think the Public Judges should continue to vote for those kinds of entries. The other thing that I believe the Public Judges should look out for are things that may or may not be as polished, as perfect, as engaging or as enlightening as others, but show a new approach, something new and different. Many of the Tomorrow
Awards winners are things that couldn’t have been done three or five years ago, so be on the lookout for entries that make you say, “This little thing could be something, this could be much bigger and better five years from now!” I would look for these kinds of entries, but they can be easy to overlook because they aren’t perfect yet. Now, I’m not saying these entries would win, but they’ll certainly get a conversation going, not just in the Monster Judges room but also within the industry, and that’s always a good thing. I believe the Tomorrow Awards are as much about the dialogue as the work. The more people are engaged, whether it’s through the voting process or just through lively discussion, the better it is for our industry.
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EXECUTIVE CREATIVE LEADERSHIP
WHO WILL LEAD THE LEADERS?
There’s an old saying, “the worst day in an ad agency beats the best day a bank ever had” and it’s true. Foosball, casual dress, long lunches — and actually being paid to do creative work are just some of the perks of working in this industry. However there is one fringe benefit that our corporate counterparts are privy to that the creative industry simply can’t compete with: leadership training. Every year Training Magazine ranks the Top 125 companies in employee development. There’s a variety of metrics, such as training hours per employee, goals, evaluation, measurement and workplace surveys. Year after year banks, insurance companies and the like occupy the top spots, while companies from the creative industry don’t even appear on the radar. Unfortunately, the assumption is that a talented creative will make a talented leader. Time and time again there seems to be surprise and confusion when a hotshot creative who was thrust into a leadership position fails to perform. The fact remains however, that the tool kit needed to be creative is different than the tool kit needed to lead creative. This is a problem that not only touches 30 NOV 2012
those new to leadership, but everyone all the way up the ladder who has been forced to learn on the job. So consider this, if we as an industry have done this well flying by the seat of our pants, just think about our collective potential with a little outside help? Recognizing the situation, the Art Directors Club set out to develop partnerships with some of the world’s leading training institutions. The first of such initiatives involves The Berlin School of Creative Leadership. A series of three-day courses will be held throughout 2013 and will be instructed by some of the top instructors from The Berlin School’s world-renowned EMBA program. Those currently in creative leadership positions and those who are on the path to be creative leaders can expect custom designed programming which will equip them with the tools and tactics to get more not only out of themselves, but also their teams. A key component of this will be the analysis of the transformation of a successful creative into a successful creative leader. The sessions will look to examine challenges common to leadership within creative organizations and share best practices to address and
resolve them. Participants can expect varied teaching methods such as lectures, group work, discussions, case studies, simulation and role-playing exercises. The Berlin School of Creative Leadership has never before brought one of their short programs to the U.S. These sessions have proven to have a long-standing effect not only on those who participate, but on the departments who they oversee. The Art Directors Club feels honored and privileged to be able to offer these brilliant courses in New York. Hopefully you will join us. For more information visit: adcglobal.org/berlinschool
← Brendan Watson, Director of Education, ADC
ADC 92nd ANNUAL AWARDS
WHAT WON A TOMORROW AWARD IN BRAZIL IN NOVEMBER? No categories. Industry judging of the shortlist. Judged by the Monsters of advertising. Anything goes. Find out what is shaping tomorrow’s industry at tomorrowawards.com.
ADC 92nd ANNUAL AWARDS + FESTIVAL OF ART AND CRAFT IN ADVERTISING AND DESIGN
FOR THE ART OF IT ALL
BYE NYC, HELLO MIAMI After 91 years in New York City, it’s time for a little sunshine. adcawards.org
APRIL 2–4, 2013 MIAMI BEACH