ADC Magazine

Magazine I S S U E

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Portfolio Night All-Stars take over NYC

Learn more about the Let’s Make the Industry 50/50 Initiative

Go Behind the Cube with awards winners

A WORD FROM THE EXECUTIVE DIRECTOR

I G N A C I O O R E A M U N O Executive Director

FALL HAS COME TO NEW YORK CIT Y; evenings and sleeves are both getting longer, the trees in the parks are transforming into a kaleidoscope of autumnal beauty, and the scent of hot apple cider hangs dreamily over the city’s farmers’ markets. There’s a crispness in the air that somehow sharpens our senses and our minds.

Fall is an especially exciting time of year for ADC, as our entire team prepares for the ADC 93rd Annual Awards of Art and Craft in Advertising and Design.

The ADC Annual Awards represents the absolute best in the artistry and craftsmanship of creative communications. It’s a celebration of beautiful things, and of the men and women whose hard work and remarkable talents go into making them.

For the past year and a half, we have been working hard to rebuild ADC from the ground up. Our goal is simple: Recommit to the club’s founding mission of honoring the art of visual communications. You may have already noticed some major changes, such as the inauguration of our Festival in Miami Beach and the launch of the ADC Annual app, but there are many more on the horizon. This includes a complete redesign of our websites and the launch of a major global educational platform that will help take the lessons of art and craft from within our communities out to the rest of the world.

Over the past few months, I’ve travelled from Costa Rica to China to Germany to Sweden and many points in between, meeting with creative professionals of all stripes. I’ve discovered a common bond among all of these people and places: A desire to build and design things that are as much works of art as they are wine labels or TV ads or websites. The industry is going through an identity crisis as we try to better understand what our jobs are about, and what kinds of things we are supposed to be creating. One thing is clear: Everyone understands and agrees that an imminent and full return to the craft in our work is not an option, but a must.

ADC will be there alongside you as we help everyone steer into the future. I now invite you all to raise the bar of creative excellence with the ADC 93rd Annual Awards of Art and Craft in Advertising and Design in 2014.

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Table of Contents A D C

M A G A Z I N E

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6

9

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Letter from the Editor

Killing It: Behind the Cube with Matt Eastwood

Judging a Non-Book

by Its Cover

Let’s Make the Industry 50/50: Evening the Score

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14

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Let’s Make the Industry 50/50: But why?

All-Star Treatment: Portfolio Night All-Stars

ADC 93rd Annual Awards of Art and Craft in Advertising and Design Call for Entries Information

The Soapbox: On Craft and Shoeshines

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26

30

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Cuts Like a Knife: Behind the Cube with Heesang Lee

Hall of Fame: Steven Heller

Creme of the Crop: Behind the Cube with Jill Applebaum

The Eyes of the Storm: Behind the Cube with Jody Quon

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35

All Aboard for 50/50

Members’ Musings

COVER PHOTO

The front cover features a photograph by Henry Leutwyler, from his ADC Gold Cube-winning book Ballet.

ADDITIONAL CREDITS

Art Direction: Erin Jang Design: Nathaniel Salgueiro Contributing Writers: Brett McKenzie, Megan Garwood, Zack Kinslow Copy Editors: Elizabeth A. McCaffrey, Vanessa Levine-Smith

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A WORD FROM THE EDITOR

BRIANNA GRAVES Editor, AD C Magazine

OUR EXECUTIVE DIRECTOR IGNACIO OREAMUNO HAS L AID A CHALLENGE BEFORE THE INDUSTRY: To raise the bar of creative

excellence in advertising and design, and to recommit ourselves to the craft of what we do. We must not only to rise to the occasion, but also exceed expectations.

The time to do so is now, as the Call for Entries opens on the ADC 93rd Annual Awards season.

93 years is a long time for an organization to celebrate commercial craft, giving it the same recognition as fine art. When we imagine the amount of change that 93 years has seen—the plethora of communication tools and channels that have been invented—we only begin to wrap our heads around the amount of diverse work our industry has produced over these decades.

Still, at its heart and in its core, our industry has remained the same. The love for artistic pleasures and the endless pursuit of the big idea has always coursed through our veins. Respect for the blood, sweat and tears that go into an execution, the singular desire to create work that moves people and changes the world in ways big and small, has remained constant throughout. And while we love the proverbial ‘big idea’ and admire the new technologies that bring that big idea to life, ADC believes that showing the utmost reverence for craft is more important today than ever before.

The idea gets you noticed, but craft gets you recognized.

In this issue, we take a look “Behind the Cube” at some of the most influential work awarded at the 92nd Annual Awards. This includes the perfectly timed and poignant New York Magazine cover, which landed just days after Hurricane Sandy darkened lower Manhattan in 2012. We also give you a glimpse into the new ADC Annual app. This app replaces the printed Art Directors Annual, allowing our communities to dynamically learn about and interact with the winning work. Finally, we are proud to share more insight into what inspired us to launch the Let’s Make the Industry 50/50 Initiative, and why we believe it is imperative for the industry at large to stand up and support more equal gender representation.

Will your work be awarded next April in Miami Beach and grace the future pages of this magazine? It depends if you rise to the occasion. But I, for one, hope to meet you on the sandy shores of south Florida with your new shiny Cube in hand.

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BEHIND THE CUBE

AD C Awards Interactive Gold Winner

DDB New York harnessed an ironic Twitter meme and turned it into a global force for good, winning two Interactive Gold Cubes along the way. CCO Matt Eastwood chats about WATERisLIFE’s “Hashtag Killer,” from conception to worldwide impact.

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Killing It

ADC: “Hashtag Killer” really turned the popular #FirstWorldProblems meme on its ear. How did the idea come about?

MAT T EASTWOOD: The team was trying to crack a brief to raise awareness for WATERisLIFE when one of its members had a first-world problem of their own. The air conditioner

in this member’s apartment broke, which led to a dispute with the landlord over who should pay the $200 to get it fixed. We compared this problem to those faced by the people of Haiti, where the average annual salary is around $100, and the idea started growing from there.

And in case you’re wondering, the landlord ended up paying ADC

for it.

ADC: What were some challenges that you had to overcome to see “Hashtag Killer” rendered? How did you find solutions to these?

MAT T: Our team was in Haiti for one week, sleeping in tents and filming over five days. There was electricity for

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roughly two hours per day at the discretion of the power company, so all equipment had to be battery operated.

And since they were there with a team that was digging a well for the town, there was no running water at the time.

It really humbled us to spend time with those who were happy despite these less than ideal living standards.

ADC: How do you hope “Hashtag Killer” impacts the industry?

MAT T: As brands seek to become part of consumers’ lives in a meaningful way, corporate social responsibility is becoming more important. And agencies and brands see how worthwhile it is to consider more than profits. In the new age of social creativity, it is time to start delivering relevant touch-points that add value to people’s lives while allowing creatives to use their talent for a good cause.

ADC: Where do you see this social media integration in the next six months, in the next year? How do you see it evolving?

MAT T: These days, social media integration happens whether we plan it or not. When you’re creating something with talk value, people will talk. Agencies now know that they need to help direct the online conversation so that it sparks in the right way. But there’s no certainty.

People will talk about what they want to talk about. The best you can do is to provide them with relevant and stimulating subject matter.

ADC: What advice would you give someone who wants to create an awarding-winning campaign?

MAT T: There are certain human truths that are universal. That’s what we look for when developing any campaign. You want to tap into those emotions. They are deeper than language and they cross cultural divides.

ADC: How did it feel to win a Cube?

MAT T: ADC is one of the most important award shows on the planet. Very little work gets selected as winners, so if you win at ADC, it is a huge honor. It’s an incredible feeling. It validates all the hard work. And it encourages both the agency and our clients to set the bar ever higher.

ADC: What are you working on for next year?

MAT T: We’ve just finished shooting in Kenya for WATERisLIFE’s follow-up campaign. We’ll keep you posted!

H A S H TAG K I L L E R

“Hashtag Killer” looks at #FirstWorldProblems in a whole new light.

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ADC ANNUAL APP

Judging a Non-Book

by Its Cover Past, present and future come together in the new ADC Annual 92 app and cover.

THE PUBLISHING INDUSTRY has changed drastically over the past decade. The methods by which we consume information are now heavily weighted towards digital, and technology has opened up many exciting new avenues to experience stories and art.

These new forms of media are capable of telling stories that can be much deeper than words and pictures on a printed page.

Now make no mistake; ADC is as much a fan of a beautifully designed hardcover book or a glossy magazine (like the one you’re reading right now) as the next creative aficionado. But when it comes to showcasing the finest work of a wide variety of creative fields, a physical book can’t do justice to the wild and robust visual and interactive experiences that our industries now regularly produce.

That’s why ADC is revolutionizing things big time this year when it comes to the ADC Annual. For the first time in its history, ADC is showcasing all of the winning work from the ADC Annual Awards in a very special iPad app, including every Gold, Silver, Bronze and Merit winner from around the globe in the fields of Advertising, Design, Photography, Illustration, Motion and Interactive.

Earlier this year, ADC launched the ADC Annual 91 app, which focused specifically on “Behind the Cube”—exclusive bonus content that dives deeper

into the industry’s top creative minds.

You can still download this app for free on iTunes, but prepare your swiping finger for the freshly released ADC Annual 92 app, which has just launched in partnership with the goodfellas, an award-winning interactive development agency based in São Paulo, and New York-based designer Monica Eunji Kim. “The ADC Annual 91 app was a joy to produce,” says Fernando Carreira, Creative & Technology Director at the goodfellas. “It has been quite a

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challenge to improve on the experience, but Monica has done an amazing job in designing the look and feel of the app.

With so much more rich content than the first one, I believe everyone is going to be happy with the 92nd.”

While the ADC Annual 92 app represents a seismic change for ADC, the Club is not abandoning the tactile and the tangible completely. To coincide with the new app release, all ADC members will receive a beautifully crafted iPad cover designed by Young Guns 9 winner Pete Rossi of RM&CO, and manufactured by DODOcase.

This iPad case is designed to resemble resemble the Art Directors Annuals of yesteryear, including a replica of the Manship Medallion, ADC’s historic first honor.

“We wanted to create a timeless design coupled with a historic and handcrafted element,” says Pete Rossi, when asked to describe the creation of the case. “The case acts as a tangible symbol that ADC members can look forward to holding in their hands—and let’s not forget that it must also appeal to the design cognoscenti, including ADC members old and new.”

ADC invites all of its members and the creative industries at large to engage this exciting new chapter in the history of the ADC Annual, and have the very best work of the past year at their fingertips. Download the ADC Annual 92 app from iTunes today.

EVENIN

SCORE

It was just past noon on an unseasonably warm New York day, and there was a growing sense of excitement at ADC’s Manhattan Gallery. Scores of designers, art directors, copywriters, producers, strategists, planners, illustrators, animators and other creative industry types chatted and mingled ahead of a very special announcement. Now having a full house of socializing professionals at an ADC event isn’t anything new, but there was a unique distinction to this particular crowd on this particular day.

Nearly every single person in the room was female.

The women were all gathered at ADC for the kickoff of Let’s Make the Industry 50/50, ADC’s brand-new initiative to enact significant, meaningful changes within the creative industry as it relates to gender equality. The aim of Let’s Make the Industry 50/50 is to increase the visibility of talented, qualified women in the creative industry by making a concerted effort to have an equal representation of men and women on awards juries, boards of directors, as well as speaking panels and engagements.

After a warm welcome from ADC Executive Director Ignacio Oreamuno, the Let’s Make the Industry 50/50 founding committee was announced, featuring Samantha DiGennaro, Founder & CEO of DiGennaro Communications; Mandy Gilbert, Founder & CEO of Creative Niche Inc.; Jen Larkin Kuzler, Director of Awards Programs at ADC; Alessandra Lariu, Co-Founder of SheSays; and Cindy Gallop, Founder of IfWeRanTheWorld and MakeLoveNotPorn (now a roving ambassador of the initiative).

“Despite the efforts and the great strides that women have made over the years, they remain grossly underrepresented in creative industries,” explained Jen Larkin Kuzler. “We decided to call upon our community to help shed light on the talented, smart, remarkable female leaders, because they are out there. The greatest misconception is that they are not.”

With the gauntlet officially thrown, the gathering ended with a final display of solidarity, as all of the women in attendance took part in a massive photo shoot right inside the ADC Gallery. Captured by accomplished photographer Monte Isom, the women stood and sat on multiple tiers, even filling up the gallery mezzanine in order to make it into the frame. By the time the final flashbulb clicked, there was a lasting image of nearly 150 of the most talented women in the New York advertising and design scene.

The challenge has been issued, and ADC is already living up to it; the Monster Judges for September’s Tomorrow Awards included an equal number of men and women from a wide variety of creative and technological fields, and the ADC 93rd Annual Awards has recently announced evenly divided, equally qualified jury chairs for 2014.

Please join ADC in supporting Let’s Make the Industry 50/50 by visiting 5050initiative.org, where you will be able to help build an open database of qualified female professionals.

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NG the

E

ADC LAUNCHES LET’S MAKE THE INDUSTRY 50/50

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LET’S MAKE THE INDUSTRY 50/50…

But Why? In reflecting upon the ADC 92nd Annual Awards season, Executive Director Ignacio Oreamuno realized that an organization like ADC is in a unique position to raise female voices in the creative industries. If not a Club with a mission to Connect, Provoke and Elevate its membership and international communities, then who?

Ignacio assembled a committee of brilliant and accomplished women to help him develop the initiative and with their support, challenged not only ADC and its programs, but any others industry-wide (see page 34 for a list of participating organizations) to split its award show juries, conference speakers and panels, and board of directors 50/50 women to men.

But why? The members of the Let’s Make the Industry 50/50 committee explain:

MANDY GILBERT (FOUNDER & CEO, CREATIVE NICHE): It’s crucial to remind

key stakeholders in the creative industries of the value women bring to creative strategic and leadership roles. Not only do women offer unique perspectives on brands, consumer behaviors and business relationships, they also have a different approach to leadership and team management that complements and even improves the effectiveness of executive leadership teams and boards. Case in point: A recent McKinsey report found that companies with more women than men on their executive committees exceeded

the return on equity and operating results of companies with male-dominated executives by 41 percent and 56 percent, respectively. With that in mind, it’s necessary for current agency leadership to take this into account when they look at their future business prospects. While this initiative does not directly call for hiring equality, it does highlight the wealth of qualified available female creative talent by ensuring their voices have a place on panels, juries and boardrooms. With nearly 60 percent of today’s university graduates being female, agencies will be left behind if they don’t fully embrace women in leadership roles who will be able to inspire the young women entering the industry behind them to do the same.

ADC: With the network of talented and qualified female creatives being much larger than perceived, what seems to be the barrier to women rising into positions of leadership and how we can overcome

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this together?

ALESSANDRA L ARIU (CO-FOUNDER, SHESAYS): For centuries, leadership posi-

tions were filled by men and therefore women’s leadership style (which tends to be more nurturing and collaborative… but not in a fluffy way!) has remained unrecognized. Just ask Forbes, Fortune or even Google, and you will likely hear that companies with women on the board perform better. And just to be clear, I don’t think women’s style is better than men’s. I believe there needs to be equal representation and availability of both styles, so people can choose which one they like.

ADC: What role do industry award shows specifically play in increasing awareness of the discrepancy in gender representation in juries?

PHOTO BY: LOREM IPSUM DOLORE

ADC: While it does not directly call for equal gender hiring quotas, how can an initiative such as Let’s Make the Industry 50/50—in calling for equal representation among awards juries, speaker panels and boards of directors—positively affect the roles and opportunities for females in the creative industries?

C L O C K W I S E F R O M T O P L E F T : MANDY GILBERT, Founder & CEO, Creative Niche, ALESSANDRA LARIU, Co-founder, SheSays,

SAMANTHA DIGENNARO, Founder, DiGennaro Communications, JEN LARKIN KUZLER, Director of Awards Programs, ADC

PHOTO BY: LOREM IPSUM DOLORE

JEN L ARKIN KUZLER (DIRECTOR OF AWARDS PROGRAMS, ADC): The as-

sumption is that award show juries reflect the current state of the industry through the creatives, companies and countries that are represented. While this is largely the case, there is often a real lack of female participation. Award shows in particular have a unique opportunity to involve qualified, spirited and talented minds of both genders in the judging process. We have the ability to call out the places where we need diverse voices to effect a change in the conversation that happens behind the doors of the jury room. This change in dynamic almost always results in a better experience and a better show.

ADC: What can women and men in the creative industries actively do to ensure that female voices are represented at the table (conference, jury, board or otherwise), in the media and within their own

agency walls?

SAMANTHA DIGENNARO (FOUNDER, DIGENNARO COMMUNICATIONS): The

creative industry boasts so many talented women who deserve the opportunity to be recognized as leaders. Endemic shortcomings surrounding our industry’s dearth of senior-level female talent aside, we must continue to encourage all of our wonderful women to stay active despite—or, perhaps, because of—the majority of male voices in management, in the press, on the speakers’ circuit and in jury rooms.

As an industry, we’ve taken some bold steps to even the playing field and to encourage female participation. Now it’s up to individuals to advance the cause.

Women and men alike need to speak up and engage in the on- and off-line dialogues surrounding this industry’s advancement of female creatives and C-level execs.

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Don’t accept the status quo. Challenge conference/jury programmers and journalists who seem to defer and default to the “usual suspects” of recycled names. Let’s nominate our peers, our direct reports, our muses, those who inspire and excite us. The most important outcome is that we continue to have representation of all different life experiences and points-of-view…and to close the gender-gap in doing so.

When both men and women truly recognize the powerful ideas that so many women bring to the table–and remove corporate politics and jockeying from the equation—no one will second-guess the decision to hire and promote more amazing ladies more often, and then we’ll start to close the gender gap in our industry’s public forums.

I’m delighted the ADC’s Let’s Make the Industry 50/50 Initiative has begun to do so.

PORTFOLIO NIGHT ALL-STARS

Young creatives from around the world fly to New York for Portfolio Night All-Stars.

All-Star Treatment Portfolio Night 11, the world’s largest portfolio review for aspiring advertising and design creatives, was held last May in cities across the globe. This year, ADC added a brand new twist to Portfolio Night that raised the stakes to an all-new level: One lucky and extremely talented attendee in each PN11 city was deemed an AllStar, with the best portfolio in town, and was flown to New York to collaborate and compete on a very special week-long project for Ford Motor Company, in partnership with Adobe.

“Portfolio Night All-Stars came from a desire to take Portfolio Night—which is

already an amazing platform for creative directors and brilliant young talent to meet—and build on it,” says Brendan Watson, ADC Director of Education. “This was a huge opportunity for the All-Stars, and we were really excited to see what they would come up with.”

The 23 All-Stars arrived in New York on a hot August weekend, and were grouped into six internationally diverse teams. Thus began an intense week of brainstorming, concepting and creating, all building towards final pitches that were presented to representatives from Ford and advertising agency Team Detroit. In between, All-Stars

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were treated to inspiring talks from such luminaries as Amir Kassaei, Worldwide Chief Creative Officer of DDB, and Rei Inamoto, Chief Creative Officer of AKQA, as well as a blowout southernstyle welcome dinner.

“This was an amazing experience,” says Wendy King, Car Communications Manager at Ford. “Being in a room full of all of these young creative minds who are all looking towards the future was eye-opening. It was a true honor to sponsor such a creative event.”

At the end of week top honors went to Team Maverick, comprised of All-Stars Saurabh Kejriwal, PN11 Paris;

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Arthur Gui, PN11 Shanghai; Isabelle Österlund, PN11 Stockholm; and Arrabelle Stavroff, PN11 Toronto. “We were working and changing things right up to the last minute,” exclaimed Stavroff.

“Everyone was incredible, and there were so many amazing ideas. We were really shocked that we won.”

In a way, all 23 All-Stars were winners; they rose to the top in their respective cities, and were rewarded with an unforgettable creative experience, as well as a global network of new friends to connect with wherever their careers may take them.

T H E R I G H T S T U F F : 23 All-Stars celebrate after an intense week of creative challenges

A N A L L -S T A R W E E K : (L–R) (L–R) AKQA CCO Rei Inamoto inspires the All-Stars; All-Star swag for all participants; Team Granada’s final pitch

THE ALL-STARS ATHENS, GREECE: Kostas Kaparos AUSTIN, USA: Daniel Miller BOSTON, USA: Ariel Simon BUDAPEST, HUNGARY: Zoltán Kolozsvári CHICAGO, USA: Sean Collander DALLAS, USA: Paul Curry DETROIT, USA: Andrew Stencil JOHANNESBURG, SOUTH AFRICA: Lize-Marie Dreyer KANSAS CITY, USA: Mars Denton LOS ANGELES, USA: Jeremy Eichebbaum MONTREAL, CANADA: Mélissa Charland MUMBAI, INDIA: Chaitanya Joshi NEW DELHI, INDIA: Vaibhav Pandey NEW YORK, USA: Keri Tan PARIS, FRANCE: Saurabh Kejriwal PHILADELPHIA, USA: Rebecca Williams SAN JOSÉ, COSTA RICA: Laura Méndez SÃO PAULO, BRAZIL: Heloisa Ribeiro SHANGHAI, CHINA: Arthur Gui SINGAPORE, SINGAPORE: Zara Kok STOCKHOLM, SWEDEN: Isabelle Österlund TOKYO, JAPAN: Shogo Kuwabara TORONTO, CANADA: Arrabelle Stavroff

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ADC 93 ANNUAL AWARDS OF ART AND CRAFT IN ADVERTISING AND DESIGN CALL FOR ENTRIES INFORMATION RD

THE JURY CHAIRS

THE JURY CHAIRS

ADVERTISING

DESIGN

ILLUSTRATION

Margaret Johnson

Chip Kidd

Christine Curry

Executive Creative Director, Partner

Designer

Illustration Editor

Goodby, Silverstein & Partners

The New Yorker ADC

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Please visit adcawards.org for category specifications and definitions. *Note: We’ve added new categories throughout!

ADVERTISING 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 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/ ENTERTAINMENT 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 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 GD131 LOGO/TRADEMARK GD132 PRESS/PROMOTIONAL KIT GD133 SELF-PROMOTION GD134 PROMOTIONAL APPAREL GD135 ANNOUNCEMENT GD136 POSTCARD/GREETING CARD GD137 CALENDAR/APPOINTMENT BOOK GD138 MISCELLANEOUS (Stamps, Menus, etc.)

CORPORATE/PROMOTIONAL DESIGN DIGITAL* GD139 ANNUAL REPORT GD140 NEWSLETTER, JOURNAL or HOUSE PUBLICATION

INTERACTIVE

MOTION

PHOTOGRAPHY

Judy John

Orion Tait

Nigel Parry

CEO, Chief Creative Officer

Executive Creative Director

Photographer

Leo Burnett Canada

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GD141 TECHNICAL/INSTRUCTIONAL MANUAL GD142 CORPORATE IDENTITY MANUAL GD143 PRESS/PROMOTIONAL KIT GD144 SELF-PROMOTION GD145 POSTCARD/GREETING CARD POSTER DESIGN GD146 PROMOTIONAL GD147 POINT-OF-PURCHASE GD148 TRANSIT (Bus Shelter, Wrap, etc.)

GD149 OUTDOOR/BILLBOARD GD150 ELECTRONIC BILLBOARD GD151 WILD POSTINGS GD152 POSTER TYPOGRAPHY PACKAGE DESIGN GD153 ENTERTAINMENT GD154 RECREATION (Sports, Toys or Games) GD155 SOFTWARE/OFFICE GD156 FOOD/BEVERAGE GD157 FASHION, APPAREL or WEARABLE GD158 COSMETICS/PERFUME GD159 GIFT/SPECIALTY PRODUCT GD160 PRODUCT GRAPHICS (Electronics, Appliances, Housewares, etc.)

GD161 MISCELLANEOUS PRODUCT DESIGN GD162 ENTERTAINMENT GD163 RECREATION (Sports, Toys or Games) GD164 SOFTWARE/OFFICE GD165 FOOD/BEVERAGE GD166 FASHION, APPAREL or WEARABLE GD167 COSMETICS/PERFUME GD168 GIFT/SPECIALTY PRODUCT GD169 ELECTRONICS, APPLIANCES or HOUSEWARES GD170 TECHNOLOGY PRODUCTS/ INTERFACE

GD171 MISCELLANEOUS ENVIRONMENTAL DESIGN GD172 WAYFINDING SYSTEMS/ SIGNAGE GD173 WINDOW DISPLAY/ MERCHANDISING GD174 TRADE SHOW GD175 RETAI, RESTAURANT, OFFICE, OUTDOOR or VEHICLE (also includes Street Art, Murals, Urban Planning, Lighting Design, Landscape Architecture, etc.)

GD176 GALLERY/MUSEUM INSTALLATION BRANDING GD177 BRANDING CAMPAIGN GD178 TYPOGRAPHY SYSTEMS MOTION MO601 TV IDENTITIES, OPENINGS or 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 MO614 VIDEO GAME* PHOTOGRAPHY MAGAZINE EDITORIAL PH401 MAGAZINE COVER PH402 FEATURE STORY* PH403 PORTRAIT* PH404 FASHION PH405 FOOD PH406 AUTOMOTIVE

PH407 HEALTHCARE PH408 TRAVEL PH409 CELEBRITY, MUSIC, ENTERTAINMENT* PH410 SPORTS + RECREATION* PH411 MISCELLANEOUS NEWSPAPER STORY PH412 NEWSPAPER FRONT PAGE PH413 PORTRAIT* PH414 FASHION PH415 FOOD PH416 AUTOMOTIVE PH417 HEALTHCARE PH418 TRAVEL PH419 CELEBRITY, MUSIC, ENTERTAINMENT* PH420 SPORTS + RECREATION* PH421 MISCELLANEOUS PHOTOGRAPHY GENERAL PH422 BOOK (Commercially Published) PH423 BOOK JACKET PH424 CORPORATE/PROMOTIONAL PRINT (Annual Reports, Brochures, etc.)* PH425 CORPORATE/PROMOTIONAL DIGITAL (Annual Reports, Brochures, etc.)* PH426 SELF-PROMOTION PH427 CALENDAR or APPOINTMENT BOOK PH428 POSTER/BILLBOARD PH429 MAGAZINE ADVERTISEMENT PH430 NEWSPAPER ADVERTISEMENT PH431 PHOTO ILLUSTRATION PH432 PHOTO JOURNALISM* PH433 MISCELLANEOUS ILLUSTRATION MAGAZINE EDITORIAL IL501 MAGAZINE COVER IL502 FEATURE STORY* IL503 PORTRAITS* IL504 FASHION

PROFESSIONALS: All entries must have been printed, published, aired or broadcast live online for the first time between February 5, 2013 and February 7, 2014, in any country. Entries may be submitted by any company or individual involved in the creation or production of the work.

STUDENTS: Students currently enrolled in undergraduate, graduate and continuing education programs in advertising, graphic design, photography, illustration and digital media are eligible to enter the competition, and are invited to submit published or unpublished work in any category, except Integrated.

Student work will be judged separately but by the same criteria and juries as professional work. Higher award winners (Gold, Silver and Bronze) will be included in the New York and traveling exhibitions and in related advertising and promotional materials.

REGISTRATION AND SUBMISSION GUIDELINES: All work must be entered online at 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 14, 2014. AS JUDGING WILL TAKE PLACE IN COSTA RICA, ANY ENTRIES THAT HAVE NOT ARRIVED BY THIS DATE WILL NOT BE JUDGED.

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IL505 FOOD IL506 AUTOMOTIVE IL507 HEALTHCARE IL508 TRAVEL IL509 CELEBRITY/MUSIC/ ENTERTAINMENT* IL510 SPORTS + RECREATION* IL511 MISCELLANEOUS NEWSPAPER STORY IL512 NEWSPAPER FRONT PAGE IL513 PORTRAIT* IL514 FASHION IL515 FOOD IL516 AUTOMOTIVE IL517 HEALTHCARE IL518 TRAVEL IL519 CELEBRITY, MUSIC, ENTERTAINMENT* IL520 SPORTS + RECREATION* IL521 MISCELLANEOUS ILLUSTRATION GENERAL IL522 BOOK (Commercially Published) IL523 BOOK JACKET IL524 CARTOON/COMIC BOOK (Commercially Published) IL525 CORPORATE/PROMOTIONAL PRINT (Annual Reports, Brochures, etc.)* IL526 CORPORATE/PROMOTIONAL DIGITAL (Annual Reports, Brochures, etc.)* IL527 SELF-PROMOTION IL528 CALENDAR/APPOINTMENT BOOK IL529 POSTER/BILLBOARD IL530 MAGAZINE ADVERTISEMENT IL531 NEWSPAPER ADVERTISEMENT IL532 PHOTO ILLUSTRATION IL533 PACKAGE ILLUSTRATION* IL534 PRODUCT ILLUSTRATION* IL535 GREETING CARD* IL536 CHILDREN’S BOOK* IL537 ICON DESIGN PRINT* IL538 ICON DESIGN DIGITAL* IL539 MISCELLANEOUS

DEADLINES

INTERACTIVE

IN329 MOBILE ADVERTISING IN330 DATA VISUALIZATION

WEBSITE IN301 WEBSITE IN302 CAMPAIGN SITE IN303 E-COMMERCE EXPERIENCE IN304 BLOG

GAMES* IN331 ONLINE IN332 SOCIAL IN333 MOBILE IN334 IN-GAME ADVERTISING IN335 AUGMENTED REALITY IN336 ALTERNATE REALITY

SOCIAL IN305 COMMUNITIES IN306 SOCIAL NETWORK PLATFORM IN307 SOCIAL NETWORK APPLICATION ONLINE CONTENT IN308 BANNER IN309 VIRAL VIDEO IN310 SHORT FILM/ANIMATED SHORT IN311 NONBROADCAST MEDIA IN312 PODCAST/WEB SERIES IN313 EMAIL MARKETING IN314 ORIGINAL WEB COMMERCIAL IN315 ONLINE GUERRILLA IN316 DATA VISUALIZATION SELF-PROMOTION (CORPORATE)* IN317 WEBSITE IN318 SOCIAL IN319 MISCELLANEOUS SELF-PROMOTION (PERSONAL)* IN320 WEBSITE IN321 SOCIAL IN322 MISCELLANEOUS EXPERIENTIAL* IN323 INSTALLATION IN324 EVENT IN325 BRANDED IN-GAME EXPERIENCE MOBILE IN326 MOBILE WEBSITE IN327 MOBILE APPLICATION IN328 DIGITAL PUBLISHING (Tablet, Kindle, Nook, etc.)

DESIGN, MOTION, PHOTOGRAPHY & ILLUSTRATION JAN. 17, 2014

INTERACTIVE JAN. 24, 2014

CRAFT IN337 ART DIRECTION IN338 USE OF TECHNOLOGY IN339 CONTENT/COPYWRITING STUDENT THESIS 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.

TOMORROW AWARDS Five winners awarded for exceptional creative innovation. tomorrowawards.com ADC YOUNG GUNS Cross-disciplinary, portfolio-based competition identifying the vanguard of creatives under 30. adcyoungguns.org

ADVERTISING FEB. 3, 2014

STUDENT (ALL CATEGORIES)

JAN. 17, 2014

EARLY BIRD DISCOUNT: ENTER BY DECEMBER 31, 2013 AND RECEIVE 10% OFF YOUR ENTIRE ORDER (PROFESSIONAL ENTRIES ONLY)

DEADLINES

EARLY BIRD

DESIGN, MOTION,

INTERACTIVE

ADVERTISING

STUDENT (ALL CATEGORIES)

DISCOUNT:

PHOTO &

JAN 24TH 2014

FEB 3RD 2014

JAN 17TH 2014

DEC 31ST, 2013

ILLUSTRATION

10% OFF YOUR

JAN 17TH 2014

ENTIRE ORDER (PROFESSIONAL ENTRIES ONLY)

ADC Please note that deadlines will NOT be extended this year. The above are firm deadlines.

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ENTRY FEES: ADVERTISING

DESIGN

ILLUSTRATION

TV/FILM

PRINT/PACKAGING/PRODUCT

SINGLE: $100

SINGLE: $350

SINGLE: $200

SERIES: $150

CAMPAIGN: $500

SERIES: $250

FREELANCE SINGLE: $75

ENVIRONMENTAL SERIES: $250

FREELANCE SERIES: $125

RADIO

BRANDING SERIES: $300

INTERACTIVE

SINGLE: $250 CAMPAIGN: $400

PRESS/POSTER/

MOTION

SINGLE: $250

SINGLE: $200

CAMPAIGN: $300

SERIES: $250

STUDENT ENTRIES

COLLATERAL/AMBIENT SINGLE: $300

BRANDING

$35 PER ENTRY IN

CAMPAIGN: $450

SERIES: $300

ANY CATEGORY.

INTEGRATED

PHOTOGRAPHY

Schools entering the work of 10

CAMPAIGN: $500

SINGLE: $100

or more students, or individual

SERIES: $150

students entering 10 or more

FREELANCE SINGLE: $75

pieces, will pay $25 per entry.

FREELANCE SERIES: $125

Don’t miss our EARLY BIRD DISCOUNT! Enter your work and check out on or before December 31, 2013 and receive 10% off your ENTIRE order! Go to adcawards.org/work (Professional Entries Only) WINNERS’ NOTIFICATION AND MATERIALS All entrants will be notified of results in March 2014. Please do not call. All entrants will be notified via email.

FESTIVAL The 93rd Annual Awards + Festival of Art and Craft in Advertising and Design will take place April 7-9, 2014 in Miami Beach.

Please visit adcawards.org/festival for full details!

Festival events will take place at the James Royal Palm, the Bass Museum of Art and the New World Center.

“OF THE YEAR” AWARDS Every year ADC honors select agencies, companies and individuals that demonstrate exemplary work based on their submissions to the Annual Awards of Art and Craft and Advertising and Design. These include: Designism, Agency of the Year, Network of the Year, Design Team of the Year, Interactive Agency of the Year, Production Company of the Year (NEW), Client of the Year (NEW), and School of the Year.

REGISTRATION AND SUBMISSION GUIDELINES All work must be entered online at adcawards.org. All information regarding entry registration, mounting, packing, shipping and payment can be found on the website.

NOTE: A winning entry is not guaranteed in every category.

BACK TO THE BEACH

93RD

Visit adcawards.org/festival

THE SOAPBOX

ADC Executive Director Ignacio Oreamuno offers a polished demonstration in using our talents in a world obsessed with technology.

Ignacio Oreamuno Executive Director, ADC

About a month prior to coming to live in New York, I was in Montreal, preparing for my move. One day while passing through one of the city’s larger office buildings, I happened across an oldfashioned shoeshine station. I was wearing a pair of simple black boots at the time, and on a whim I stopped to have my shoes polished. The owner of this enterprise spent more than 20 minutes cleaning my boots like no man has ever cleaned them before. When I stood up, he said, “No, wait, sit back down. It’s not good enough.”

Unsatisfied, he continued on, trying different techniques and materials. He stopped again only to tell his partner that something still wasn’t right. He scrubbed and rubbed that leather until it gleamed. The end result: A masterfully clean shine and more importantly, a huge lesson for me. Maybe it was just a pair of boots, but it was his commitment to his craft that made all the difference. To him, there is an art to cleaning shoes.

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It’s time for the long lost art of craft to make its resurgence in the creative communications industry. Anyone who ignores its importance will be washed away in the tsunami of change, one much bigger than the wave of change that technology brought over the past decade. But first, let’s take a step back and ask ourselves, “What is craft?”

Craft is passion. Craft is earned. Craft is hard. Oliviero Toscani, our keynote speaker at the 2013 ADC Festival in Miami Beach, reminded us of one cold hard fact that we often forget: Craft hurts because it’s not easy. Technology has made us believe that everything is supposed to be fast and automatic, a fact that could not be more evident and visible than in the portfolios of juniors coming out of schools around the world.

We have relied for decades on humor and wit to sell our products: An idea so big and clever that it would certainly stop consumers in their tracks; or a joke so funny it would make them laugh more than the show that the ad interrupted.

This technique is now futile; consumers are not only skipping commercials, many of them are skipping TV altogether. They

PHOTO PHOTO BY: LOREM BY: LOREM IPSUM IPSUM DOLORE DOLORE

On Craft and Shoeshines

stopped subscribing to newspapers and magazines (the paper variety, at least) and have ad blockers on their browsers.

Consumers have become just as smart as advertisers themselves.

You see, “creatives” have long worked under the assumption that they are brighter than the people they pitch their products to. When David Ogilvy died, the New York Times credited him for being the one to realize that consumers were not stupid and that we should not talk down to them. Well, I can tell you that not only are consumers not stupid, but in many cases they are producing more interesting content than any of the agencies in existence.

Humor has been democratized, and yet thousands of creatives around the world are wasting their time coming up with funny headlines that won’t be read, let alone make anyone laugh. In the past, consumers watched commercials and discussed the good ones. Now advertising creatives are the ones spending their days watching consumer-created content on sites like YouTube. Ironic.

This is why we must recommit to our craft. If we cannot be clever and outwit consumers, then the only thing left in our arsenal is to use our expertise to make our creative product beautiful again. To put in the hard work that produces a shine like no other.

Just think: An old Guinness poster from the 50s was so beautiful that it can still be framed and put on a wall. Could you say the same of the ads coming out of your agency today?

Now imagine that you began to create beautiful work again, really beautiful work, work that could be placed in a museum if not for the product shot. Wouldn’t that make you proud? Wouldn’t that help you retain talent and clients who want to create work that is more ‘real?’ And more importantly, don’t you think that it would stop consumers and push more product than the work you are creating now?

Art is the ultimate form of human communication. Art is our way at trying to imitate the perfection of nature.

Humans will always strive to push our craft and as the world becomes more

global, art is the glue that transcends ‘target markets’ and language barriers.

Art is universal and eternal. The Catholic Church was one of the first ‘clients’ and one of their agencies was Michelangelo, who produced billboards for them on the ceiling of the Sistine Chapel. Those ads are still running.

We will not catch up with technology; there are more apps on the iTunes store built by 16-year-olds than produced by agencies. But the fight for craft is one we can win. As Malcolm Gladwell stated, those 10,000 hours of experience are what make us different. In practice, this means that we will be spending the same amount of time and sweat in choosing the right typographical treatment for a web banner as we did in the so-called ‘old days.’

ADC will be spearheading this new golden age of craft, as seen in everything from our awards to our judging to our programming and events, both in New York and around the globe. I hope you join us in the mission.

Be sure to bring your shoeshine rag.

PHOTO BY: LOREM IPSUM DOLORE PHOTO BY: LOREM IPSUM DOLORE

T K T K T K C A M PA I G N N A M E ! Captiontext goes heretkasdfass fill out lines here tasdfasdfasdftk describe above photo toptk.

SHINES LIKE GOLD

The ADC Cube represents excellence in creative craft.

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BEHIND THE CUBE

AD C Awards Student Silver Winner

Four years ago, Heesang Lee moved from Seoul, South Korea to New Jersey and began studying at the School of Visual Arts. This past year, she won a Silver Cube in the Student category for her package design project “X-ACTO Blades 100.”

Cuts Like a Knife

ADC: What fields of study did you focus on while at the School of Visual Arts?

HEESANG LEE: I majored in graphic design. The school has a really good print shop on 21st Street, and I took various printmaking classes there in my third year, like silkscreen, letterpress, etching and lithograph. These tools made the output of my design closer to what I wanted to produce in terms of colors, textures, etc.

ADC: Can you tell us about the “X-ACTO Blades” project?

HEESANG: I designed this project in my third year type

class. The assignment was to redesign a package for an everyday object.

I chose X-ACTO blades because I use them almost every day. There are many kinds of blades, but the problem is that I couldn’t see clearly how they are different. There seems to be a system, but the information on the package is hard to interpret because it is explained as a small diagram placed at the bottom of the package. When I looked for more information on the XACTO website, I was amazed by all the different kinds and shapes of blades. I wanted to give them a proper home. My aim for this new design was to enable customers to easily know what they need at a glance.

It’s the package design for a tool, so it had to be utilitarian. I chose neutral colors and worked more on the hierarchy of the blade types. There are about 28 kinds of blades, and my package is for the 15 blades that fit in a regular grip. I first redesigned the X-ACTO logo inspired by stencil letters. The ‘X’ from the logo becomes

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a symbolic mark for X-ACTO knife. Then I simplified the information on the package. The numbers in the center are the blade numbers, and the back illustrations show the shape of the blades. Each package explains what is in it. The small letters (“A,” “P”) on the side refer to “Assorted” and “Precision” type.

ADC: How did it feel to win a Cube at the Festival in Miami Beach?

HEESANG: Of course, I was so happy. The ADC Cube was an award I have wanted to win since I began studying graphic design in New York City.

I went to Miami Beach for just two days because my final portfolio review for SVA was only a few weeks away. Rafael Rozendaal, a designer I love, was scheduled to give a lecture the day I arrived in Miami Beach, so I felt less guilty about leaving work behind. The Festival was far more than I expected. I got to listen to lots of inspiring lectures, the weather was fantastic (compared with the weather in New York at the

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moment), and I won a Cube at night, so everything turned out to be the best!

ADC: What are your plans for the future now that you’ve graduated?

HEESANG: I have a few projects right now. I’m working on illustrations for a book about whiskey. This is going to be my first illustration work published as a graphic designer after graduation, and I can’t wait to see it done. As one of my side projects, I’d like to design artists’ portfolios. It would be fun if I could collaborate with artists, musicians or anyone who needs something to represent their works. I’m working on one project for an artist already and I’m excited to see how it goes.

I think I was lucky to receive the Cube when I was still a student. I’m sure it’s going to be harder competing with a lot of talented professionals, but I’d like to produce many designs and gradually build a solid body of work.

X- A C T O B L A D E 1 0 0

Heesang Lee’s third-year SVA project imagines a new direction for X-ACTO packaging.

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PHOTO BY: NIR ARIELI

Steven Heller - 1996 Inductee

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HALL OF FAME

Established in 1971, the ADC Hall of Fame recognizes and honors innovators who have made significant contributions to art direction and visual communications, and whose lifetime achievements represent the highest standards of creative excellence. In this Hall of Fame series, we revisit past inductees and discuss their storied careers.

Steven Heller “AS BANAL AS THIS SOUNDS, YOU HAVE TO LOVE WHAT YOU DO IN LIFE.” SO SAYS STEVEN HELLER, DESIGN AUTHOR EXTRAORDINAIRE AND CO-CHAIR OF THE MFA DESIGN DEPARTMENT ON THE SCHOOL OF VISUAL ARTS IN NEW YORK CIT Y. AND STEVEN MOST CERTAINLY HAS, FROM HIS DAYS AS A YOUNG CARTOONIST ON THE NEW YORK UNDERGROUND NEWSPAPER SCENE TO MORE THAN 33 YEARS AS AN ART DIRECTOR FOR THE NEW YORK TIMES . ADC CAUGHT UP WITH STEVEN AND HAD HIM REFLECT ON HIS ASTOUNDING EXPERIENCES. ADC: How does a kid like you, growing up in New York just around the corner from the very school where you lecture at today, get his start in this crazy industry?

STEVEN HELLER: When I was a kid, I loved drawing cartoons.

I wanted to be a cartoonist, but a part of me knew that I’d have to make a living doing something else. I thought of getting into advertising. It was something you could put your finger on. The concept of commercial art was a little fuzzy

to me. What is a commercial artist? What is a graphic designer? So I kept saying to people, “Yeah, I’m going to be in advertising.”

ADC: You obviously didn’t end up in advertising. What happened?

STEVEN: When I was thirteen, I got a little job at an ad agency through a connection.

Honestly, I didn’t know what the fuck I was doing, and they knew I didn’t know. After about three days I mercifully left on my own. I was very bad.

But it wasn’t long before I was drawn into the world of New York’s underground newspapers. I was still drawing cartoons, and my illustrations had some deep psychological foundation that likely showed how twisted I was. But I would buy these newspapers, like the New York Free Press and Rat, and they seemed to speak to me, at least more than 16 Magazine and Tiger Beat.

I started taking my drawings to all of these papers, and got published in a few. At the New York Free Press I met somebody who called himself the “art director,” which I

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didn’t know what that was.

He hired me to do “mechanicals,” and I didn’t know what they were either. He taught me. From then on I stayed in publishing.

ADC: It wasn’t long before you transitioned from a cartoonist to a writer. What exactly spurred that change?

STEVEN: Well I did attend college very briefly as an English major, but working in underground papers, you tend to do just about everything.

After working at a few other papers, not to mention helping to found pornography mags such as Screw and the New York Review of Sex and Politics, I moved onto the New York Times, where I really established myself as a writer for the next 33 years.

To be honest though, I wouldn’t even call myself a writer. I just wrote. I wrote some reviews, a little of this and a little of that. I went from being an art director working in a literary environment to being a writer who art directed to being ultimately a writer who teaches about design.

ADC: And a very prolific one

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at that! You have more than 150 books under your belt, as an author, editor or contributor. What do you think drives you to put pen to paper, especially on subjects like design and illustration? Did you feel you were filling a certain niche that hadn’t been met?

Did you ask yourself “hey, why aren’t there many books about this?”

STEVEN: At a certain point it had dawned on me that this was something I could do. I was always employed as an art director, so I didn’t have to worry about making a living doing it. The books themselves just kind of snowballed.

I was a fairly compulsive person when I started. In the beginning I wanted to see how many books I could do in a year, and then how many I could add up to over time. It was like when you’re in the military — funnily enough I had spent time in military school — and you try to collect as many ribbon bars as you can.

The books themselves have served as little storages houses for my thoughts. I’m kind of messy if left to my own devices, and so each book became a way of compartmentalizing

things that I was interested in and things that I thought other people might be interested in.

ADC: Is there a particular book of yours, or a particular project that you’d consider your favorite?

STEVEN: It’s really hard to pinpoint. One of my biggest pet projects was Iron Fists: Branding the 20th Century Totalitarian State. The challenge was trying to figure out how to make it into something that had historical resonance as opposed to just

fetishistic resonance. This was a book where I never met the designers until it was over because I didn’t want to influence them and I wanted to see how they would interpret my stuff. In that sense it’s a book that I’m very proud of.

ADC: Who would you say have been your biggest inspirations on this literary journey?

STEVEN: My biggest inspiration was the illustrator Brad Holland.

This guy picked me up out of

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the underground gutter and taught me what graphic design was, what good illustration was. I met him through an ad in the Village Voice. I was doing a poetry magazine at the time, an independent magazine that had no real focus. I was looking for illustrators, so I put in an ad in the Voice and Brad Holland shows up. We became friends and he essentially became the art director of this magazine.

In the process, Brad taught me about Herb Lubalin and other exceptional designers.

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My closest friend is Seymour Chwast, but before we really knew each other I was actively not looking up to Push Pin Studios. Back then I saw Push Pin as the enemy, the old-timers, and I wanted to be a new-timer. But one day I was having lunch with Ed Sorel and he said, “You’re an idiot for not including Seymour or Milton Glaser in your projects!”

So I relented and that led to a wonderful connection. It’s funny; all of those things that you feel when you’re an arrogant little kid, they ultimately explode at

some point. The things that you feel you’re rebelling against become the things that you revere.

ADC: You’ve been at The School of Visual Arts for a number of years now. Do you find a certain magic in education and teaching?

STEVEN: First of all I believe

those are two separate things.

I’m not a teacher and I don’t think I can teach. I can mentor, I can lecture and I can convey ideas that may inspire, but

I can’t teach. That takes an awful lot of effort. I think a lot of people in advertising and graphic design go into teaching because they feel it’s incumbent upon them. Some of them really do want to give back, and some of them just want the cred of having done it.

But for me it’s the whole gestalt, the atmosphere. I stay young by being connected to the students. That’s an old saw but it’s true. I do get a lot of naches by having students succeed and feeling that I was part

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of that success. It’s like giving birth or it’s the male equivalent maybe.

ADC: In 1996 you were inducted into the ADC Hall of Fame as a Special Educator. What was that experience like for you?

STEVEN: It was a wonderful honor. I don’t believe I should ever have been in the Hall of Fame as a designer, or even as an art director. As many people as I helped put out into the world as art directors, I wasn’t

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as good as at least 80% of the people that I know and have written about.

I guess I received it for my writing and historical scholarship. I’m amazed even now that I’m recognized for this. I started doing it as an alternative to art direction and design, but still be engaged in the process.

I had no idea who would read my work, or even care. But it soon became clear our field and later one the broader public was interested. Funny how that happened. But I’m glad it did.

BEHIND THE CUBE

AD C Awards Interactive Gold Winner

After celebrating OREO’s 100th anniversary by looking at the famous cookie through a century of history, DraftFCB turned its attention to more timely events. The result: The Interactive Gold Cube-winning “OREO Daily Twist,” a campaign that featured a new element every day for 100 days. Jill Applebaum, now a creative director at JWT, shares her insight on the delightful project.

Creme of the Crop into social media and into modern daily life.

ADC: Most advertising projects can spend weeks or months in development, but “OREO Daily Twist” must’ve required an insanely fast and frequent turnaround time, from conception to client approval to production to the public launch. How was this accomplished?

Jill Applebaum, one of the creative directors behind “OREO Daily Twist”

ADC: “OREO Daily Twist” seems like a pretty ambitious project. How did it come about?

JILL APPLEBAUM: We had just done some good old-fashioned print ads for OREO’s 100th birthday.

They were initially for the global market, but the North American clients loved it and ran it here. To their surprise they received a lot of press and attention, and so they wanted to explore the concept a little bit further.

The print campaign was all about looking back on 100 years through the eyes of a kid, but the “Daily Twist” was to bring a new interpretation

JILL: We basically needed to set up a real-time system of both approval and creation, and so we assembled the smallest group of people possible to make it work. We had a single person on the client side who had the power to give instant approval, a lawyer to cover any legal issues, and a small, tight-knit team of creatives and account people to think up the daily executions. Our creative team [including creative director Megan Sheehan; art directors Jared Isle, Mike Lubrano and Jackie Anzaldi; and copywriter Noel Potts] worked side by side every day for three months. Nobody was allowed to take a summer vacation (laughs).

ADC: So you and the team

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would spend your mornings coming up with possible ideas. When you finally settled on a winner, how did you go from concept to production, again at a lightning-fast pace?

JILL: We went back to Richard Pierce, the photographer who shot our 100th birthday campaign, and we created a library of assets before we really kicked off. We did cookies cut in half from a couple of different angles, whole cookies, big cookies, glasses of milk, drops of milk, everything we could think of. We didn’t really know what we were going to necessarily use them for. We did know that we didn’t want to have a lot of ideas canned and prepared in advance because that would’ve ruined the whole spirit of the project.

ADC: Right off the bat you

started receiving a ton of press for the very first part of this 100-day campaign, the June 25 Pride OREO. Were you expecting such a huge reaction?

JILL: It was crazy! I don’t think the public realized that it was a single piece of

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a much larger campaign.

They just assumed that OREO was making a big statement about gay rights. There was a big public outcry, but it also received a ton of support as it was shared around the world.

In the end everybody decided it was for the best and it benefited the brand in a big way.

That said, the brand did not want to come off as expressing any political views, and so moving forward we tended to stay away from potentially controversial topics.

Still, the Pride ad is the piece that I am most proud of.

ADC: As we move deeper and deeper into this age of social media and instant responses, what advice would you give to anybody who is interested in creating something similar to “Daily Twist”?

JILL: It takes a certain level of extra energy to be able to do something like this. You have to have an appetite for this way of thinking, and you have to be quick and nimble.

Your client also has to see the value in being fast and furious, in eliminating the extra meetings and layers of approval. Fast work just doesn’t happen by committee.

Made with creme colors that do not exist.

JUNE 25

Yellow creme currently unavailable.

| PRIDE

Red creme currently unavailable.

JULY 23

| CYCLISTS CONQUER FRANCE

SEPTEMBER 19

AUGUST 5

| TALK LIKE A PIRATE DAY

OCTOBER 2

| MARS ROVER LANDS

| ANNIVERSARY OF 1ST HIGH FIVE

D A I LY T W I S T

“OREO Daily Twist” required DraftFCB’s creative team to create timely, relevant executions on a daily basis.

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Talent and luck come together for Iwan Baan, photographer behind New York Magazine’s iconic cover.

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BEHIND THE CUBE

AD C Awards Photography Gold Winner

When Hurricane Sandy struck the US Eastern Seaboard in October 2012, it plunged much of the New York City area into darkness and disarray. New York Magazine Director of Photography Jody Quon shares the story of its now iconic ADC 92nd Annual Awards Photography Gold Cube winning cover.

The Eyes of the Storm ADC: Take us back to the day when Hurricane Sandy hit New York. There’s a story to tell, but Mother Nature isn’t cooperating with your need to tell it.

JODY QUON: Sandy struck

the city on Monday night, leaving much of lower Manhattan flooded and without power for several days. This included our own offices, but we were fortunate enough to have our parent company house us in midtown, which still had electricity. Instead of our desks and cubicles, we were all gathered at an ad hoc setup around the boardroom.

By Tuesday afternoon, we knew that we still had to get our scheduled issue out, and we knew that the issue was now going to be about the hurricane, but we still needed to determine the best way to visualize Sandy. We had people all over the city, shooting this and that, all the way to the Rockaways, but no solid idea of what the shot should be.

That evening, my husband came to pick me up, and we drove downtown to our home in Chelsea. The moment we crossed over 34th Street, we went from well-lit streets to near total darkness. I was blown away by that divide, and I knew we had our angle.

ADC: Once your team had its idea, how did it become a reality, especially when infrastructure, transportation and even fuel had been compromised?

JODY: The clock was really ticking to get the kind of shot we imagined. The power could be restored to downtown at any moment, so we knew we had to get the aerial shot that night. We tried some local photographers who we knew normally had access to helicopters, but nobody was available. We finally reached out to Dutch architectural photographer Iwan Baan, who had contributed to our magazine in the past, including aerial shots. Iwan is constantly travelling, and it was a miracle that he happened to be in New York.

Hurricane Sandy had grounded most of the helicopters in the New York area, but in a string of very fortunate events, Iwan had just done an aerial shoot out in the Hamptons, and he’d had the foresight to both secure a rental car and withdraw large amounts of cash before the storm hit. And so Iwan headed out to Long Island that afternoon and came back that evening via helicopter.

ADC: Did you give Iwan any direction as to the type of ADC

shot you wanted?

JODY: We told Iwan that we needed to see both the southern tip of Manhattan and a clear shot of the lighting divide. Normally that would be an almost impossible shot to get, as helicopters are only allowed to fly a certain height due to air traffic regulations.

Our good luck continued to shine on us; Sandy had essentially shut down all of the airports in the area, and so Iwan was granted permission to take the helicopter up an additional 1,000 feet.

On top of this, Iwan had just started working with a brand new Canon camera that was virtually the only camera in his possession that could’ve captured the shot that clearly at that altitude and with those lighting conditions.

ADC: So you got your shot, but did know right away that you had your cover?

JODY: Definitely. We knew that by Thursday morning.

Design Director Thomas Alberty came up with the muted logo and the placement of the single line, and it all seemed very special.

At the same time, I was also very nervous. It seemed like such an obvious shot, and everyday I kept expecting to see a similar one on the cover

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Jody Quon, Director of Photography, New York Magazine

of the New York Times or Time before ours went to print.

Even on Friday as we were putting the final pages to bed, I was saying “God I hope that our cover can last until Monday. I hope we don’t get beat by this image!”

ADC: You worked at a magazine during the 9/11 tragedy. What lessons have you learned covering events that not only grip the city, but the very people you work alongside?

JODY: These events are hard for us as civilians, but they make for fantastic journalism. They’re like gifts that are handed to you, and you have to dive right into the storm because that’s your moment.

You can’t worry about what your results are going to be, you just have to go for it.

All Aboard For 50/50!

In the few months since ADC launched the Let’s Make the Industry 50/50 Initiative, a number of organizations have pledged their support.

ADC

The ADC 93 rd Annual Awards have announced an equal number of men and women as Jury Chairs, and every effort will be made duplicate this within the juries themselves. The ADC StartUP speaker series already has an even split of male and female presenters.

THE AMERICAN ASSOCIATION OF ADVERTISING AGENCIES

THE ADVERTISING CLUB OF NEW YORK

Under the leadership of President & CEO Nancy Hill, the 4A’s have long been champions of gender equality with the advertising industry.

One of the oldest advertising organizations in the world, The Advertising Club of New York, led by its President & CEO Gina Grillo, has thrown its full support behind the initiative.

CLIO AWARDS

EL FID

This highly regarded and internationally renowned advertising award show was among the first to join Let’s Make the Industry 50/50 Initiative, with Executive Director Nicole Purcell pledging her commitment at the launch event.

This international design conference — one of the biggest in Latin America — has pledged to raise the number of women on its many speaker panels and presentations to 50%.

SOCIAL MEDIA WEEK

RAZORFISH

This globe-spanning biannual gathering has already made the first steps towards equal gender representation, beginning with their September 2013 conference.

One of the world’s largest interactive agencies, Razorfish, is the first agency to become an official sponsor of Let’s Make the Industry 50/50.

THE 3% CONFERENCE TOMORROW AWARDS

The Tomorrow Awards Summer 2013 Monster Judges featured three men and three women from across the creative and technological spectrums.

ADC

This annual event highlights the fact that although there are countless talented women within the marketing and advertising industries, they only account for a very small percentage of leadership roles. This conference shines a light on their successes and builds a path towards equality.

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MEMBERS’ MUSINGS ADC Members open up for ADC Magazine

“WHAT IS YOUR FAVORITE TYPEFACE, AND WHY DO YOU ENJOY IT SO MUCH?”

KURT HAIMAN

ANDY ROMANO

ERIC L AU

ADC PAST PRESIDENT & LIFETIME MEMBER

ADC LIFETIME MEMBER

ART DIRECTOR

VP, CREATIVE DIRECTOR OF GREY AND

ART DIRECTOR/

NEW YORK, NY

FOUNDER OF G2 (RETIRED)

CREATIVE DIRECTOR (RETIRED)

NEW YORK, NY

CRESTLINE, CA

“After a great run in the profession for the past 45 years, my love for typography has never wavered. Over all of these years, one typeface as served me well in reflecting the written word. It’s classic, it’s powerful, it’s romantic yet modern in its flow. Its letter forms are beautifully sculptured as a downward stroke flows into its base serif, and as a thick curve gently rounds into a thin ending.

“I like Trajan. It’s classic and modernizable. It’s like a favorite dessert — but you don’t have it with every meal.”

My choice for favorite typeface is Caslon 540. As a matter of fact my gravestone will read in Caslon 540 “HE HAD A GREAT RUN.“

“My favorite typeface is Akzidenz-Grotesk. I first came across this typeface when I was interning at Visionaire, and immediately fell in love with it. I especially like how different weights of AG go together harmoniously and how you can create a visual hierarchy that looks great. AG is like a low-key and stylish man. It is not overly stylized, so you can create completely different looks and feels, which makes it suitable for a wide range of applications.”

PETER ADLER ADC LIFETIME MEMBER GRAPHIC DESIGNER FORT LEE, NJ

CAROL-ANNE RYCE-PAUL DESIGNER/ART DIRECTOR NEW YORK, NY

“Times New Roman, because it’s a very readable, well designed, versatile and compact typeface that’s available in regular, Italics and bold. It was commissioned by The Times in 1931, which happens to be my favorite year.”

SASHA AGAPOV ART DIRECTOR LOS ANGELES, CA

“Gotham by Hoefler & FrereJones. It’s beautiful, balanced, playful and stylish. This typeface can be every thing and still keep its elegancy and perfect form.

Gotham has no expiration date.”

“I love Gotham. It has come to define my identity as a New Yorker. It also has so many weights, I can alter my attitude without changing my mind.”

Not yet a member? Visit adcglobal.org/membership to learn more.

12 WEDNESDAY, MAY 21, 2014 ALL OVER THE WORLD portfolionight.com To sponsor Portfolio Night or bring it to your city, contact Sarah West, Portfolio Night Global Director at sarah@adcglobal.org