Magazine I S S U E
It’s Laser Cat! Pew pew!
Meet the Festival presenters
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Ten things to do in Miami Beach
A WORD FROM THE EXECUTIVE DIRECTOR
I G N A C I O O R E A M U N O Executive Director
WE’RE ON THE BRINK OF A NEW DAWN AT ADC. Since I arrived at 106
West 29th Street in Manhattan a year and a half ago, we have been overhauling every aspect of the Club to make it better, and we are ready to show you the new machine. We are proud of our just-launched new website, outputting a magnitude of inspiring and educational content to the world. I’m also very proud to have launched Laser Cat, our real (if ever-so-strange) and largerthan-life effort to get all the art out of the agencies and into the world. I can’t wait to see it all projected at the Festival in Miami Beach! As you read this, we are either in New York or along the beach in Tamarindo, Costa Rica wrapping up our ADC 93rd Annual Awards and Tomorrow Awards judging, and getting ready for the ADC Festival in Miami Beach. I am pretty confident that this is going to be the most inspiring and fun festival I have ever attended, let alone built — even more so than last year. I hope you join us there. What started as a project to infuse the legacy that is ADC with new life and energy has grown into a self-imposed challenge to help each of you and our industry to move forward into a better, brighter place. A lot of people have found themselves lost and confused from the many changes that have hit the creative industries over the past decade. At ADC, we believe that a full return to craft, education, art and community, and a reexamination of the titles and roles that structure our industry are the things we must rededicate ourselves to as we move into the future. I can promise you that every resource and every ounce of energy at ADC is being used to help you and to make this happen successfully for all of us. If the founders of our industry — notable giants like David Ogilvy, Paul Rand, Bill Bernbach and Saul Bass — were here today, be assured that they would be the first and most excited ones to move forward, leave the past behind and embrace change. Let’s make things beautiful once again.
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N ADDITIONAL CREDITS
Art Direction: Erin Jang Design: Nathaniel Salgueiro Contributing Writers: Brett McKenzie, Ceci Menchetti, Ariel Adkins Copy Editors: Vanessa Levine-Smith, Elizabeth A. McCaffrey
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The front cover features PLEATS PLEASE Happy Anniversary Posters. Awarded with a Design Gold Cube at the ADC 92 nd Annual Awards.
A WORD FROM THE EDITOR
BRIANNA GRAVES Editor, ADC Magazine
LOOKING OUT THE WINDOW HERE IN NYC, it’s hard to find inspiration in the dreary grey skies and sludgy wet streets of winter. As snowflakes fall around me, my focus is steadfastly forward, set on the palm trees, soft white sand, and the international friends old and new that await every ADC Festival attendee in Miami Beach in April. Last year’s Festival of Art + Craft in Advertising and Design was pretty incredible, but this year’s ADC Festival blows the inaugural year out of the turquoise blue water of South Beach. The lineup of women and men set to present workshops throughout the three days are visionary artists and accomplished creatives who will help you find and ignite your inner artist (you know, the one that got you into this damn business). Each night of the Festival will reveal a portion of the ADC Annual Awards and Tomorrow Awards winners — from design to photography, illustration to motion, interactive to advertising, and all of those category-busting ideas — in a celebration fit to recognize the most well-crafted creative in the world. The morning yoga on the beach that begins each day through the sizzling after-parties that close each evening will be based at the new Festival headquarters, The James Royal Palm, a luxury boutique hotel in the heart of Miami Beach. Everything you’ll need, 24/7, will be less than an arm’s reach away. This was a special issue of ADC Magazine to work on. Every page reflects a piece of brilliance, from highlights on last year’s winners — such as PLEATS PLEASE, the stunning work of the Taku Satoh Design Office; and the social awareness-inciting Clouds Over Cuba by the Martin Agency — to the stories behind some of the artists ready to present in Miami Beach — like Clive Wilkinson, a pioneer in architecture and interior design; and Ian Padgham, an artist and video producer who creates with Vine (yes, the app). What to do in Miami Beach? Who is this Laser Cat? What was ADC 93rd Annual Awards Photography Jury Chair Nigel Parry looking for in this year’s chosen winners? We have all that covered in this issue, and so much more. So start arranging your sunscreen by SPF and your flip-flops by color, and get your ADC Festival Pass before they sell out (there are only 300 passes available this year!). I’ll save you a seat at the rum bar.
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FESTIVAL FUN
Kings of The Castle The ADC Festival of Art + Craft in Advertising and Design is taking a deliciously bizarre turn this year with the inclusion of Laser Cat, a giant, feline-shaped art installation designed to beam the personal art projects of creatives from all over the world. ADC caught up with Hungry Castle’s Killian Cooper and Dave Glass, the Barcelona-based duo that is bringing Laser Cat to life.
ADC: The two of you grew up on opposite sides of the world, and yet it seems your brand of zaniness was meant for each other. Tell us a bit about your pasts and how you came to meet. KILLIAN COOPER: Well I am from a little village in Ireland. Growing up I had a lot of pop culture influences, from The Simpsons to Shepard Fairey’s OBEY movement to Mario Kart to MTV. I had all these things going on in my head, as well as a passion for art, and so I took all of those things with me when I went to Dublin Institute of Technology to study visual communications. DIT was fantastic, so much experimentation and learning … although I almost got shot on the last day of college. ADC: Wait, what? KILLIAN: A friend and I had done a joint project about hitmen and assassins, and we thought it would be a good idea to put on balaclavas and carry a mannequin inside a body bag around the city of Dublin. Unfortunately, Special Forces did not think it was such a good idea. DAVE GLASS: As for me, I grew
up in Sydney, Australia. I was always into art, and in high school I became interested in advertising. I got into the agency world, but I guess I was just following a paycheck, moving from bland job to bland job. I was also becoming bored with living in Sydney. It was too tame, too familiar, and I really wanted to travel and experience new cultures and influences on my creativity. And so I decided to move to Spain. KILLIAN: I was having a similar experience in Ireland, working in different agencies and studios until it began to feel more like a job than a passion. And so I too decided to travel, and the two of us wound up in the same creative workshop in Barcelona. We met, we hit it off, and that’s how Hungry Castle was born. ADC: What drove your initial projects? KILLIAN: Right away, we knew we wanted to do projects that took us away from the four walls of a studio or from in front of our computers. We wanted to do things that interacted with people. DAVE: Our first project was a
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sausage club in Barcelona — yes, it was an actual club for sausage lovers, not a phallic euphemism — and it became quite apparent that people just wanted to become part of something, to engage with things. And so we decided to craft things for the people.
KILLIAN: We launched it at Bestival on the Isle of Wight, and people were bypassing Elton John and Snoop Dogg just to queue up and go inside.
ADC: Arguably, your most famous project is a giant, inflatable Lionel Richie head, a piece that drew praise from the likes of Stefan Sagmeister, and even Lionel Richie himself. Where on earth did this idea come from?
DAVE: You have to be able to learn on the fly. Some artists’ strengths lie in what they already know, but for us, we think it’s important to figure out things as we go along. That way, you don’t know what’s impossible to do, and you just end up doing it.
KILLIAN: Somebody had approached us to do a sculpture, and we were inspired by the video for Lionel Richie’s “Hello,” where the blind girl makes one of Lionel’s head. We started to recreate that, but then thought, ‘Why are we making this so small?’ We want people to become engaged with art. DAVE: And so we decided to build something big enough that people could actually go inside. We are major proponents of ‘make the logo bigger.’ If we could make it even bigger, we would.
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ADC: What is your secret to creating such large-scale art projects?
KILLIAN: Of course, we also love collaboration. What’s that saying? ‘Work with people smarter than yourself’? That’s a necessity for us, not just to get stuff done, but also to feed off of the creative energies that only exist when people come together. Feed your artwork to lasercatmiami.com by March 31 so his laser beam eyes can project it to the moon (or at least the Bass Museum of Art at the ADC Festival)
Killian Cooper and Dave Glass Thousands of pieces of art have been submitted to Laser Cat and will be displayed at the Festival of Art + Craft in Advertising and Design.
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FESTIVAL PRESENTERS
If you don’t already know Clive Wilkinson’s name, you certainly know his work. The Googleplex in Silicon Valley? That was Clive. The professional playground that is the TBWA\Chiat\Day Los Angeles headquarters? That was Clive, too. Mother London and JWT New York? You guessed it: Clive. Now a pioneer in workplace design, the architect and interior designer began his journey in Cape Town, South Africa. Clive has lived ’round the world since, in London and Sydney before eventually settling in Los Angeles. He is now based in L.A. with his wife and two children, as is his successful firm, Clive Wilkinson Architects (CWa). Clive and CWa’s accolades are numerous and welldeserved, including the 2012 Smithsonian Cooper-Hewitt Museum National Design Award for Excellence in Interior Design. Clive took a moment to share with ADC a bit of the lore behind the legend, which will have to suffice until he bestows more brilliance upon Festival attendees as a workshop presenter at this spring’s ADC Festival of Art + Craft in Advertising and Design.
Clive Wilkinson ents’ buildings. And yet our lives are now radically different. As Marshall McLuhan said in the 1960s, “We continue to use old tools to solve new problems.” It appeared to me that the reformulation of our urban realm and the corporate workplace was a critical area to which architecture could apply itself.
ADC: At what point did young Clive think, ‘I know, I want to be an architect and interior designer!’ Was there an “Aha!” moment, or a specific inspiration that sparked the interest in you? CLIVE WILKINSON: The young but not entirely ignorant Clive wanted to be a writer, but there wasn’t a suitable university course at that time in South Africa where he grew up. So he ended up in architectural school in Cape Town, as they had a great Bauhaus-structured general arts course. He fell in love with architecture, since it appeared to be a profession you could never master, and hence would always be learning. It seemed like this was a career where you would be designing stage sets upon which people could live out the dramas of their lives. Simultaneously, you could feel both a very privileged and complicit accessory to crime. ADC: Is there a particular technology that changed the face of architecture and design? How do you keep technological innovation from dulling personal innovation and craftsmanship in your work? CLIVE: From its introduction around 1987, computer-aided design (CAD) certainly revolutionized my field. Regrettably, it brought about an addiction to technological prowess, which deflected attention
ADC: How do you source your own day-today inspiration and what motivates you to get out of bed each morning?
from genuine creativity. It has been a major frustration as we have witnessed these much-hyped and superficial orphans of pseudoscience gathering a myopic fascination in the media marketplace, at the expense of a much-needed focus on where modern lifestyles are heading, and what kinds of springboards we can craft to support the new ways of living. The architecture of our cities is fundamentally anachronistic: the programs of buildings are mildly stylized versions of the same programs that shaped our great-grandpar-
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CLIVE: As with anyone in the creative field, getting out of bed is appallingly difficult. My process is probably similar to many others. I live my projects in my head, constantly running through scenarios in the spaces we are creating, and questioning what our real intentions are. I am lucky enough to have some very talented people who drive the projects forward so I can focus on the basic conceptual side. It takes time to gestate, as rushing the process can cause one to misconstrue the narrative. ADC: You worked with Frank Gehry, who designed the New World Center in Miami Beach where ADC’s PLAY Night Celebration will be held during the Festival in April. Is his design particularly well-suited for performance spaces?
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CLIVE: I am grateful for the year I spent working for Frank. I was particularly fortunate to work closely with him. His performance spaces may be criticized for some functional issues, but he has achieved something very few have managed: the buildings are inspirational expressions of performance in themselves. I personally feel that achieve-
ment is quite sublime and I don’t subscribe to the criticisms that this in some way detracts from the theater experience within. I think it’s a brilliant complement, and drives home the importance of total experience. When you go to the theater, that celebration of theatricality should extend from the moment you arrive to the moment you depart.
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We are in an era when the physical and the tangible matter more than ever before.
For more of Clive’s insight, visit adcglobal.org and look for his workshop at the ADC Festival in Miami Beach in April at adcawards.org/festival
The James Royal Palm Miami – South Beach is the perfect headquarters for the ADC Festival of Art + Craft in Advertising and Design for many a reason. One of them? Art@TheJames, a program that is as reverent to art as ADC and its vision.
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Art(and Craft) @TheJames THANKS TO ART@THEJAMES, art surrounds guests throughout the James Royal Palm in both guest rooms and public spaces alike. The collection, titled “An Ocean Apart,” was carefully curated by interior designer Lauren Rottet, and combines a selection of pieces created specifically for the property with an Artist in Residence program and a menu of partnerships with local art institutions (including the Museum of Contemporary Art (MoCA), New World Symphony and Young Arts). “An Ocean Apart” comprises a private collection of paintings, photographs, prints, furniture and a specially commissioned art game. Rottet’s curatorial statement for the collection refers to the way in which American, European and Latin American cultures collide in Miami, creating a unique micro-culture that is enveloped in the coastal culture of those who live by the sea. The artists chosen to participate in Art@ TheJames are both international and local to Miami. One such artist is Stephanie Jaffe Werner. Just like ADC’s Annual Awards and Festival, she began her journey in New York City, but ultimately landed much further south on the shores of Miami. “The Latin influence and warm, sunny climate have undoubtedly affected my choice of medium and the use of brighter colors in my work,” Werner says. “My background is in glass and ceramics — glassblowing and mosaics are both ancient techniques. I was attracted to mosaics due to its similarity to
collage and assemblage in a larger, more permanent composition. There was much public art being done in Miami, and I pushed my mosaics to a larger scale to be eligible.” Rottet discovered Werner at her studio in the Wynwood district of Miami and not only selected Werner’s work for The James’ curated collection but also purchased a topiary piece for her own personal collection. The pieces of Werner’s work featured at The James use pique assiette, a French term meaning “stolen from plates,” and a style that Werner has developed in her work for the past several years. “These plates are not really stolen,” Werner says, “but merely rescued from the dusty shelves of thrift shops, flea markets and other various haunts. I am literally painting with the patterns in the china.” One such piece, Werner’s pique assiette mosaic “The Soup Lady,” is especially representative of the curatorial statement that guides Art@TheJames, and the confluence of cultures and the ocean in Miami Beach. “Food has always been one of the variant elements that separate cultures, but its presentation as symbolized in “The Soup Lady” is a common thread between all cultures, even if they are “An Ocean Apart.” I am not of Latin descent, but when I arrived in Miami, I immediately recognized and embraced the opportunity for extensive immersion in the Hispanic culture while still living in America. This, for me, was the heart of the experience, and it continues to stimulate me
to this day.” As a collection, Werner’s work has a sentimental feel that “harkens a bygone era,” as she puts it. “One of handmade family heirlooms, when quality and craftsmanship were societal expectations. This forgotten norm stands in marked contrast to today’s machine-made era. Nostalgia, both an emotional response and an idea, is a fundamental element of my work.” “Mixed-media collage allows me to expand my range of artistic choices, thereby producing a unique, personal effect,” Werner continues. “Oftentimes, this involves refashioning familiar forms, creating for each an entirely new identity. For example, “The Soup Lady” combines a piece of domestic iconography from the 1950s in a piece made with broken dishes. Such unconventional pairings are a signature of my work. The familiar and welcoming image of “The Soup Lady” is shown with birds and butterflies rising like steam from the soup bowls. I am playfully using the shattered and chipped china to redefine and question the image of women who would rue the day they broke a dish!” Guests of the Festival of Art + Craft in Advertising and Design will not rue the opportunity to enjoy Werner’s work at The James in April, along with that of the other artists presented through Art@TheJames. Until then, look for more Art(and Craft)@ TheJames features, including Bobby Hill, at adcglobal.org.
T H E JA M E S R OYA L PA L M M I A M I : The hub of the ADC Festival is art and craft personified
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P L AY L A B
Young Guns 11 Winner
Recent ADC Young Guns 11 Winner PlayLab is the collaboration of Archie Lee Coates IV and Jeffrey Franklin, cutting-edge designers and best friends (awww!). The duo has been at it for ten years, infusing a huge variety of projects with their uniquely blended brand of optimism, precision and irreverence. Working by the motto “We’ll see what we see when we get there,” PlayLab sets no boundaries as the studio grows. It’s been a successful strategy: they’ve worked with everyone from the band Beach House to the U.S. Government. But their most demanding client is still themselves.
PlayLab: Fun Is Real! ARCHIE LEE COATES IV: We knew. JEFFREY FRANKLIN: We started in college as soon as we met each other. ARCHIE: The Karlsson Wilker book Tell Me Why had just come out and it was like a disease, everybody had that book on their desk. Everybody was just obsessed with Jan Wilker and Hjalti Karlsson. It was new, and it was so transparent and open and exciting, especially in the way that they framed even the mundane things about the office. We just thought, ‘Shit. We’re in!’ We called up Jan, came to New York when we were nineteen, and knocked on his door. We brought him a six-pack and he sat us down and gave us advice. We asked him things like, “Why should we do an incorporation vs. an LLC?” And he said, “Because Stefan Sagmeister did it and it sounds cooler.” It can all be traced back to that moment for us. JEFFREY: That book just opened our minds and showed us that you can be humorous and you can have fun with creating things. We latched onto that and decided: that’s what we
want our lives to be like.
just spiraled out of control.
ARCHIE: CLOG [the widely distributed architecture journal] and + POOL [a New York City civic project to install a filtered pool in the East River] were just fucking fun. Those projects showed us: whoa, fun is real!
ADC: So is there something about New York that’s keeping you here?
JEFFREY: Now we’re on the team for the U.S. Pavilion at the Architecture Biennale in Venice, and that’s a very stuffy, serious environment. So we just have to get in there and say, ‘Alright, this is PlayLab. We’re gonna fuck some shit up.’ ADC: Has all this international travel been a specific part of your mission? JEFFREY: As opportunities come up we jump at them. It’s a total accident, but it’s sure as hell fun to do. ARCHIE: A few years ago, we started this thing with some other designers called Pie Lab in Alabama. It was the first thing we did when we incorporated the company. We left New York, lived in a shitty house and made no money. And it was the best experience of our lives. That set off a wave of things: we got to teach in Germany for two weeks, and then that got us a chance to teach a series of workshops in Saudi Arabia, and then we got a grant in Sweden and made an exhibition. It
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ARCHIE: We will always love New York, but now we’ve seen the world and we’re going to explore. We talk about opening an office in Japan and living there for a while; or we just did a + POOL week in Copenhagen and that was the best city I’ve ever been in. We also love California. So we don’t know. Travel is just the best. You can do it when you’re small and nimble and you’re fit as a company. JEFFREY: That said, you can’t beat New York if you want to be part of an art and design community. The energy is here. We’ve wanted to come to New York since we were little kids and we bonded over that. Before we came here, we said that we were going to Brooklyn no matter what. And we did. ARCHIE: We’ve grown up together. It’s like a marriage … and kind of is one, legally. But your idea and definition of a studio and what you can achieve changes all the time. We didn’t think we were going to be able to do any of this stuff before we were thirty.
Check out PlayLab’s profile, with more of their work, at adcyoungguns.org
PHOTO BY: LOREM IPSUM DOLORE
ADC: You say that PlayLab “has been, is, and always will be” your collaborative practice. Have you known from the beginning that this was going to be an inseparable bond? How did it form?
N OT P L AY I N G A R O U N D : The duo believes that there’s no such thing as overtime when you’re doing what you love
PHOTO BY: LOREM IPSUM DOLORE
I N T E R N AT I O N A L I M AG I N AT I O N : From Alabama to Saudi Arabia, PlayLab’s world is only getting bigger
+ P O O L : By Summer 2016, New Yorkers will be able to swim in real East River water — filtered, of course
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Illustration by Ben Weeks
“To be creative means to have no securities. It means doing the contrary of what every pre-established system wants you to do. To be creative means to try to do something that has never been done before, to build out of nothing something that can have enormous value. Creativity requires a state of non-control, of limitless courage. And that is why conformism is creativity’s worst enemy.”
Oliviero Toscani 2013 Keynote Speaker ADC 92nd Annual Awards + Festival of Art and Craft in Advertising and Design
adcawards.org/creativity
BEHIND THE CUBE
ADC Awards Interactive Gold Winner
When Brian Williams joined the Martin Agency in 2008 as Creative Director, The John F. Kennedy Presidential Library was a long-standing client and the account had become known for its beautiful print ads and provocative headlines. Taking a new path, Brian and his team began to venture into interactive territory, bringing together technology and history to handle the library’s yearly topics with pieces like We Choose the Moon in 2009. Their expedition continued with 2012’s topic of the Cuban Missile Crisis. With Tool of North America and their Interactive Director Ben Tricklebank on board, they crafted Clouds Over Cuba, a multimedia documentary that considers what the world would look like if even the weather had been different at this crucial moment in history. Brilliantly synthesizing the facts and leaving the rest up to the viewer, the project not only brought to light new historical information but also created a new interactive kind of filmmaking. And they won a few ADC Cubes, to boot.
Heads in the Clouds ADC: How do you make complicated historical analysis accessible to everyone? BEN TRICKLEBANK: We always
Brian Williams Creative Director Martin Agency
Ben Tricklebank Interactive Director Tool of North America
wanted to steer away from just the statistics or the number of human casualties. Instead, we wanted to focus on some really personal, interconnected stories that talk about what would have happened from the perspective of recollection and their personal experience. It’s what isn’t said that leaves the viewer to imagine and fill in some of those blanks.
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BRIAN WILLIAMS: All these closed-door meetings that Kennedy had were secretly recorded, by him, using a button under his desk! It sounds like something out of a movie, but it’s true! It was often Kennedy standing by himself in a room full of these 13 strong-willed senior executives, saying, “Hold on a second, let’s not jump into war.” So we have this utterly unique window into history where we can listen in on these guys wrestle with what to do, under huge stress. But suggesting that someone listen to 43 hours of this stuff is just prepos-
C O U N T R Y I N C R I S I S : The interactive documentary lets viewers glimpse a future that almost happened
terous, so we put each of these meetings into a digital calendar which you can download right onto your iCal or your Google calendar. All of Kennedy’s secret meetings populate themselves into October of 2012, exactly 50 years after they were held, and then the meeting note comes up, you click on the link, and you can listen to the audio of that meeting. So you can attend history, live. ADC: What were some of your favorite responses to the project? BRIAN: We had visits from over 150 differ-
ent countries in the first week. That’s a nice reminder that the story is portable, and it is valuable to a lot of different people. On Twitter, a huge variety of people had something to say about it. There were people who ran documentary film departments at universities, military historians, and of course the
alternate-history contingent, all saying it was worth a look. BEN: We put a lot of technology behind the way the piece is constructed, but that wasn’t really the thing that people were talking about. I was pleased about that, because if the technology is so obvious to people, then it’s clearly getting in the way of the story. People were really just reacting to the way that the story was told. ADC: How did you overcome the intimidation factor of working with such important subject matter? BEN: The challenges with a project like this come from the depth of what you’re dealing with. There are people who have dedicated their academic careers to studying this subject, and we come along and try and put
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this piece together in a matter of months! We were very fortunate that we had assistance from a number of experts on the subject. BRIAN: Making a new kind of documentary
was not the goal. One of the reasons we work together is that we both have an extreme openness to what something might be, the size and shape of something. We’re just restless and curious about what the web and digital interactivity can do in telling stories. So we go by feel a little bit. But that’s what makes a project like this so pleasurable: those concerns are not derailing. They’re empowering and exciting.
Learn more about Cube-winning work like the Martin Agency’s Clouds Over Cuba at adcawards.org or download the ADC Annual iPad app from the iTunes store
It’s All in the Wrist TOMORROW AWARDS WINNER: THE NATALIA PROJECT
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Human rights defenders put their very lives on the line all over the world, fighting for the basic rights most of us take for granted. Civil Rights Defenders is a nonprofit human rights organization that helps to coordinate and support such efforts around the globe. When Civil Rights Defenders sought to update their brand strategy, they turned to Stockholm-based branding agency RBK Communications. Their relationship resulted in something far beyond a traditional branding platform: RBK conceived and created the Natalia Project, an assault alarm system that ensures efficient local emergency help as well as alerting the world via social media. ADC spoke with RBK creative director Johan Pihl about the Natalia Project, one of five winners of ADC’s 2013 Tomorrow Awards.
ADC: How did your relationship with Civil Rights Defenders come about? Civil Rights Defenders has been around for more than thirty years, but needed to develop a new brand strategy. The organization changed its name in 2009, and needed to better communicate how they substantiate their work, done in conjunction with local human rights groups throughout the world. RBK worked with Civil Rights Defenders to help create a brand platform in line with the organization’s strategy for international expansion.
JOHAN PIHL:
ADC: While very important, that sounds very far removed from what would become the Natalia Project. JOHAN: Indeed, but it is through the branding process that we built a really deep, trusting relationship with Civil Rights Defenders, which led to conversations about their longterm strategy and purpose. It was obvious we needed to find real solutions well-rooted in their DNA, ones that could serve as a vehicle for their ambition to empower local organizations and protect individuals at risk.
ADC: How did you develop the idea of the bracelet? Initially we thought of ideas involving all kinds of surveillance, especially camera surveillance, a controversial topic in Europe. We then moved on and wanted to find ways to get information about assaults out quickly and clearly. With attacks and kidnappings, any delays in relaying details make efforts to help more difficult and the chances of awareness and engagement low. We thought JOHAN:
of ways to relay information directly to news desks, but then said, ‘Hey, why limit ourselves to news desks when we could reach the world through social media?’ ADC: Once you had the concept in mind, how difficult was it to actually create the bracelet? JOHAN: Oh, that was a headache! There are obviously various types of assault alarms already out there, from the pull-pin types you see joggers wear, to smartphone-based apps. Unfortunately, nothing fit our needs, as we needed something that could be completely off the grid until activated, especially for areas where government forces could be blocking phone signals. We almost gave up, but we were eventually lucky to discover PFO Technologies, a Swedish assault alarm developer who had already been working on similar devices. PFO was willing to collaborate on finding solutions to the specific needs of the project. The risks of being blocked or hacked by corrupt regimes made us work hard to come up with a secure alarm system.
ADC: How did Civil Rights Defenders help to create the finished product? JOHAN: They were with us every step of the way. Every one of our partners and theirs made every effort to contribute. Of course, we were very nervous to present the initial idea, but we knew it would serve them well and they would see innovation as a force to drive change. And once BBC was on the line, we knew there was no turning back.
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Johan Pihl, Creative Director, RBK
ADC: What lessons did you learn in developing the Natalia Project that you could apply to future projects? JOHAN: The Natalia Project showed us how crucial teamwork is to something of this scope. There were nearly 100 people involved in the project, most of us working on it pro bono. That many people working together to make the project a reality is a beautiful thing. The project also opened our eyes to the importance of ever-changing technology. In hindsight, we should’ve had more focus on the technology at the beginning, steering us away from unfeasible solutions and towards ones that take advantage of the latest findings. Ultimately, our biggest lesson was in the innovation process itself. The Natalia Project has given us the confidence to think, present and execute in a big way. We can’t wait to do more!
Learn more about the Natalia Project and all of the Tomorrow Awards winners at tomorrowawards.com
7 — 9 APRIL
2014
MIAMI BEACH ADC
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ADC Festival of Art + Craft in Advertising and Design As the first international creative collective of its kind, ADC is proud to host two of the most competitive advertising and design award shows in the world: The 93rd Annual Awards and the Tomorrow Awards. All of the winners will be revealed during the three evenings of the Festival in Miami Beach: April 7 FAST-FORWARD Night Celebration and After-Party where the five Tomorrow Awards winners will be revealed poolside at The James Royal Palm.
April 8 PAUSE Night Celebration and After-Party recognizing the Gold and Silver ADC 93rd Annual Awards winners in design, print advertising, illustration and photography in the majesty of the Bass Museum of Art.
April 9 PLAY Night Celebration and After-Party recognizing the Gold and Silver ADC 93rd Annual Awards winners in advertising (non-print), interactive and motion in the Frank Gehry-designed New World Center.
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7 — 9 APRIL
2014
MIAMI BEACH ADC
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INSPIRE YOUR INNER ARTIST AT AMERICA’S ONLY BEACHSIDE CREATIVE FESTIVAL Three days of hands-on creative workshops with visionary artists and three nights celebrating the best work in the business in Miami Beach will change your career.
Only 300 passes available. all-inclusive festival pass
individual ticket to the fast-forward, pause or play night celebrations
$1,800 USD (through March 1, 2014, $2,000 after March 1)
$250 USD each
Includes three nights of chic accommodations on-site at The James Royal Palm Festival headquarters, all creative workshops, all Night Celebrations and afterparties, and more.
April 7 FAST-FORWARD Night Celebration, where the five Tomorrow Awards winners will be named poolside at The James Royal Palm.
festival-only pass $750 USD
April 8 PAUSE Night Celebration, where the Gold and Silver ADC 93rd Annual Awards winners in design, print advertising, illustration and photography will be recognized at the Bass Museum of Art.
Does not include hotel, but does include all creative workshops, all Night Celebrations and after-parties, and more.
agency group pass $10,000 USD
April 9 PLAY Night Celebration, where the Gold and Silver ADC 93rd Annual Awards winners in advertising (non -print), interactive and motion will be recognized at the Frank Gehry-designed New World Center.
Send your leadership and top creative teams to be inspired (and perhaps to collect an award!). Includes four All-Inclusive Festival Passes (with hotel) and five Festival-Only Passes (without hotel).
Please note that all Bronze winners will be celebrated at a special
student three night celebration pass
breakfast during the Festival, and Merit winning work will be on display throughout the Festival headquarters and events.
$100 USD
Includes admission to all the three nights of Night Celebrations only (FAST-FORWARD, PAUSE AND PLAY). Must present student ID. WITH THE SUPPORT OF THE MIAMI BEACH VISITOR AND CONVENTION AUTHORITY
student festival pass $500 USD
Does not include hotel, but does include all creative workshops, all three Night Celebrations and after-parties, and more. Must present student ID.
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M O M E N TA R Y G R E AT N E S S : Ian Padgham is a master of Vine’s six second medium
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WORKSHOP PRESENTER
Ian Padgham He limits himself to six seconds, but Ian Padgham’s creativity is boundless. That’s because his medium is Vine, the Twitter-owned app that creates short, looping videos. Based in San Francisco, Ian was once a video producer at Twitter, responsible for making videos and animations to sell the company’s products. Little did he know that one particular product release would change the trajectory of his career, and that the combination of a smartphone, #woodman (a wooden sculpture of a man), his surroundings, and his imagination could create such entertaining and amusing pieces of short film. Ian will inspire as a Workshop Presenter at the ADC Festival of Art + Craft in Advertising and Design in Miami Beach this April. But first, the story of how his work with Vine came to be.
ADC: What about your background collided with the Vine app in such an explosion of creativity?
ADC: Was it love at first Vine, or did it take some getting used to the app and its possibilities?
IAN PADGHAM: The real story behind the Vine “explosion” (it was really more of steady burn) actually came a couple of months after the app came out. The creative team from the TV show Robot Chicken gave a talk at Twitter. At the end of the Q&A, someone asked what the secret to success in Hollywood was, and Matthew Senreich and Seth Green said, “It’s not about where you went to school, or who you know, or how good you are, or anything like that. It’s about the hustle. Take every job you can, never say no to an opportunity, and no matter what, never let your fear stop you from doing something.” I know it sounds corny, but it affected me. When they asked if there was a final question from the crowd, the room was silent. I really wanted to ask them to make a stop motion Vine with me on stage, but I was too afraid and embarrassed. And then what they had just said suddenly clicked and I decided, ‘To hell with it!’ So I walked up to the mic and asked them. They agreed. We made the Vine in front of several hundred people and it was a huge success. I decided that from that point on I was going to try and make a Vine every morning. I wasn’t going to worry about perfecting everything or what people thought. I was going to hustle. And I did. After only about a month, I suddenly had 100,000 new followers.
IAN: There was definitely a “love at first Vine” experience. I was already a sucker for video/animation applications (Cinemagram, Miniatures, GIF SHOP, and many others) so I was an easy sell when Vine arrived. But what I think set Vine apart from other apps was the simplicity. Other applications and programs can overwhelm you with options and tools; you end up spending most of your time trying to figure out all the things you can do. With Vine, it was so basic that you could go in and produce immediately. It was a purely creative space, sans frills, bells, and whistles. Too often, we think we need more to create (more gadgets, more programs, more RAM, more money). I disagree and I think Vine proves having less can actually mean greater production and more creativity. ADC: Is there art in a Vine? IAN: I am fascinated by the photographer Eadweard Muybridge. Among other things, he was the inventor of the moving image, having strung together a dozen photographs of a horse running in order to prove that all hooves left the ground when running. This four-second looping creation — made in the Bay Area — changed the world and brought light to life. Although it was made 140 years ago, it remains one of the most beautifully captivating motion pictures you will ever
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see. So to answer the question in a very roundabout way, Vine is, at least in my mind, the poetic heir to the art and magic of early cinema. No other app captures the looping, simplistic and fascinating aesthetic of the Muybridge tradition. The very first movie ever made was a short, looping, stop motion artwork, and I think the possibility for the continued creation of art on Vine is without limits. ADC: What is the one thing you cannot live without? IAN: I’d like to think I can live without much. I was once robbed of everything I owned: my clothes, money, all of my sketchbooks and art, my photographs of travels and friends, my computer with all of my emails and documents, my passport, my books, everything. And then after being robbed I left in my friend’s car and we drove for a month with nothing, going wherever the road took us, sleeping on the beach or on the side of the road. It was the most beautiful experience of my life and I had never, nor have I since, felt more alive and free and happy.
For more on Ian’s life before and after Vine, visit adcglobal.org, and look for his workshop at the ADC Festival in Miami Beach in April at adcawards.org/festival
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Source: Kitamura, Midori. Pleats Please - Issey Miyake. Kรถln: Taschen, 2012
BEHIND THE CUBE
ADC Awards Design Gold Winner
Have you ever experienced the intense, overwhelming hunger triggered by seeing or smelling something delicious, like your favorite food or a delectable dessert? If you appreciate fashion, chances are that you’re familiar with a similar craving in relation to a piece of clothing or an accessory. It isn’t hunger per se, but such a feeling of emptiness may so overcome you that it can only be satiated by possession of the coveted item. Taku Satoh Design Office was able to capture that feeling with its posters for the 20th Anniversary of PLEATS PLEASE ISSEY MIYAKE, and was awarded with a Design Gold Cube at the ADC 92nd Annual Awards for the achievement.
Good (Pl)eats PLEATS PLEASE IS A BRAND OF POLYESTER CLOTHING launched by Japanese designer and ADC Hall of Famer Issey Miyake in 1993 after he perfected the revolutionary pleating process that makes the garments unique. Throughout the brand’s twenty-year history, PLEATS PLEASE not only remains as a maker of rare “fashion products,” but has also maintained a relationship to art, cultivating Guest Artist Series, campaigns and photo suites by internationally renowned photographers. Graphic designer Taku Satoh started working with the brand in 2005, and began a relationship that resulted in wonderfully simple representations of the garments, which describe less what they are and more what they could be. According to Satoh, PLEATS PLEASE epitomizes Issey Miyake’s concept of creating clothes from “a piece of cloth” and contains many possibilities: “Ball them up. Shrink them. Lightweight. Beautiful colors. Playful. These PLEATS PLEASE keywords open up endless creative possibilities, much like paint for the canvas or colorful clay for sculpting. There are no other clothes like them.” Tasked with the goal of creating a series of posters celebrating the 20th Anniversary of PLEATS PLEASE, Taku Satoh and designer Shingo Noma began with the “delicious” concept: “PLEATS PLEASE uses the kind of fabric that makes a direct appeal to the
senses. We took this characteristic to evoke irresistible cravings like, ‘Looks so delicious I have to wear it!’ A person who perceives a food as delicious is in a frame of mind to instinctually accept that food without doubt.” Working with the idea of food as a standin for clothing, and attempting to express need over want, the collaborators chose to showcase delectable treats such as green tea ice cream, chocolate cream on toast, red wine, strawberry ice cream, Japanese traditional confectionary and whipped cream on pancakes. Photographed by Yasuaki Yoshinaga of Kopal Still Life, the posters are intended to appeal to instinct, breaking with the tradition of clothing displayed on a mannequin or worn by a model. In Taku Satoh’s opinion, the garments speak for themselves, and these simple, yet profound posters are proof of that: “I always keep it in mind that the visual ideas are secondary to the clothes, with the clothes as the stars.”
Learn more about Cube-winning work like PLEATS PLEASE at adcawards.org, or download the ADC Annual iPad app from the iTunes store
C U L I N A R Y C O U T U R E : Taku Satoh Design showcases Issey Miyake’s creations in delicious detail
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ADC Hall of Fame 1979 Inductee
Milton Glaser: A Bronx Tale ADC
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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.
THERE ARE ICONS OF THE DESIGN WORLD , and then
there are the people whom icons aspire to be. If ever there was someone who falls into that latter category, it would be Milton Glaser. With a simple heart and three letters, the legendary designer made an indelible impact on popular culture far beyond the state those symbols represented. From Push Pin Studios to New York Magazine , he has made waves in the creative communications industries that are still being felt. Inducted into the ADC Hall of Fame in 1979, Milton is still going strong at the age of 84. But every legend has to start somewhere. In this interview, part of an upcoming ADC video series, Milton Glaser talks about how his youth and early career have influenced his life several decades later. ADC: You were born in the Bronx and grew up during the Great Depression, an era that we have heard so much about but can only imagine the experience. How did being brought into the world at that time and place influence your artistic leanings? MILTON GL ASER: I grew up in what you would say was a leftwing community made up of Russian and Central European Jewish immigrants, surrounded by Irish and Italians. It was a rich matrix to grow up in, with people pursuing the American Dream, living a life that they knew was better than the ones they had left. We were also full of aspiration. The kids in my community had a strong educational drive, encouraged by their parents. 95% of the kids I grew up with went onto college, a staggering statistic considering these were mostly poor people living eight to an apartment. I believe that’s the irony of the situation. Even during one of the worst times in American history, people still felt they could get ahead. They went to school, they got an education, they improved the quality of their lives in a way that is perhaps more difficult today than it was back then. ADC: Would you say this world you lived in was a catalyst for your career? MILTON: You never really know the factor that moves you towards making things. Human beings like to make things: it’s intrinsic to the human species. Once I realized that a life could be made out of making something, I never relented. I pursued that goal all my life. I’m still pursuing it today. ADC
The story I often tell about seeing my cousin draw something on a paper bag coalesced into a real objective that I sustained year after year. I didn’t know what it meant to be an artist or illustrator or graphic designer, but I knew I wanted to create miracles. I wanted to create things that didn’t exist before I made them. The deepest, most meaningful rewards of my life have come out of that activity. ADC: How supportive were your parents? Were they accepting of a creative career path over a more traditional one? MILTON: I think I had a perfect upbringing: a very supportive mother who encouraged the idea that I could do whatever I wanted to do, and a resistant father who said you first had to figure out how to put bread on the table and make a living. This was the ideal combination, psychologically speaking. It meant that I became used to working against a resistant other, be it a culture or a boss, coupled with a deep feeling that I could accomplish anything I wished. ADC: With that strong family support, it was then time to get an education. Did you know what to do or where to go to pursue your dreams? MILTON: Well at that age I was also very interested in science, and I was torn between applying to the High School of Music and Art, or to Bronx Science, both very elite schools in their fields. I had a science teacher in junior high who wanted me to go to Bronx Science, but I decided by myself to take the entrance exam to Music and Art which was occurring on the same day as the one to Bronx Science. The following day, I was walking down the hall when my science teacher called me into his office. My teacher looked at me and said, “I heard you took the entrance exam at Music and Art, and not Bronx Science.” I was really embarrassed because he had been so supportive all these years, and I said, “Yes, I did.” He leaned over and pulled out a box of Conté crayons from his desk. He gave it to me and said, “Do good work.” Even today, a tear comes into my eye when I think of the generosity of that man and his spirit. The idea of blessing me, saying, ‘You have decided on your own life, and I am going to support and encourage you, regardless of what I wanted.’ It was such a profound act that I have never been able to forget it. I hope that in teaching, I have been able to pass that lesson on a bit.
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ADC: After high school you went on to attend the famous Cooper Union, and eventually earned a Fulbright Scholarship to study abroad… MILTON: Yes, but I should say that before getting the scholarship I went to work for Condé Nast’s promotion department for about eight months. It was the only real job I ever had. I didn’t really know anything about putting out promotional material, so I was learning on the job. When I received my Fulbright Scholarship, I went to my art director to tell her that I was leaving Condé Nast, and she said, “Well I’m glad you’re leaving, because you always tried to sabotage me. Every time I would ask you to do something, you would do it in this peculiar way.” I was too embarrassed to say that the reason I was doing things in that way is because I didn’t know what I was doing! It was at that precise moment that I knew that I didn’t want to work for anyone again. ADC: To be able to live up to that, you’d need to find that balance of art and business. Obviously you did, going on to found
Push Pin Studios, New York Magazine and other ventures, but was it a challenge for you to unite those worlds? MILTON: I think there is a misunderstood relationship between making a living and being an artist. Making a living is based on a materialistic act of exchanging work for money, while being an artist is something else: it’s having a different relationship to the culture. There are very few true artists in the culture. Everybody has to walk a fine line between earning a living and having a purely creative impulse to make something. It’s very difficult to reconcile the differences within a single life, and I learned that everything becomes a sloppy compromise. Occasionally you are able to do both. I’ve never been keen on business. In fact I’ve been very suspicious of business dealings as they relate to art, but I managed to make a decent living while still focusing on the aesthetics.
Visit adcglobal.org to hear more from Milton Glaser in an ADC exclusive video interview series
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10 Not-to-Miss Attractions in Miami Beach
LINCOLN ROAD A block and a half north of The James, you will find Lincoln Road: a pedestrian street mecca of sidewalk cafés, sizzling bars, chic shopping and unmatched people watching. Try dinner at Sushi Samba, a tasty after-dinner drink at the original Segafredo or a sweet, melty cone at Gelateria Parmalat.
W I T H I N WA L K I N G D I STA N C E OF THE FESTIVAL HEADQUARTERS The James Royal Palm, headquarters of the ADC Festival of Art + Craft in Advertising and Design in Miami Beach, not only has everything Festival attendees could dream of right on-site (great restaurants, pools, lounges, a rum bar, a posh nightclub and more), but is also steps from the best that South Beach has to offer. Here are a few excursions you might want to wander off the premises during the afternoon Festival ‘free time’ to enjoy:
DAVID’S CAFÉ It wouldn’t be a trip to Miami Beach without a little cafecito, cortadito or colada (if you’re sharing with friends) to power you up with a Cuban caffeine boost. Just south of The James on Collins Avenue and 11 th Street, you will find David’s Café, where the gorgeous ladies at the coffee window will get you set up right with the Cuban coffee of your dreams.
E S PA Ñ O L A WAY Modeled after the Mediterranean villages in Spain and France, you’ll find Española Way just south of The James between 14 th and 15 th Streets. A cozy pedestrian street full of delicious restaurants, Española Way was a destination for both Miami’s finest and its most notorious bad boys (think Al Capone) in its early days, and has served as a backdrop for many a Hollywood film ever since.
THE HOTELS OF COLLINS AVENUE You’ll find all that you need at The James, but for a change of scenery, stroll through the sexy hotels that line Collins Avenue. Iconic spots, such as Delano, The Setai and the hot new SLS Hotel provide a chic backdrop to grab a drink and watch Miami Beach’s (and perhaps visiting Hollywood’s!) best-dressed mix and mingle — be sure to get into the mix yourself.
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ART DECO DISTRICT
At the heart of Ocean Drive (where it meets 10 th Street) is the Art Deco District. Take an official tour of the Art Deco Historic District, where Miami Beach got its start, or just grab a map and look around at the historic buildings and colorful hotels that laid the foundation for South Beach’s sassy vibe.
OCEAN DRIVE Some of the rooms at The James overlook Ocean Drive, but any guest need only walk around the corner from the hotel to begin a stroll down one of Miami Beach’s most famed corridors. Check out the Versace mansion and the dazzling Art Deco hotels that face the blue waters of the ocean.
P R I M E O N E T W E LV E
JOE’S STONE CRAB
A bit further down on Ocean Drive (below 5 th Street on 1 st Street) sits Prime One Twelve. For the carnivores in your entourage, it will satiate that meat craving as a self-described “chef-driven boutique steakhouse” with an “innovative menu.” Be a part of the Miami Beach scene while enjoying some of the best eats in South Beach.
Joe’s Stone Crab started as a lunch counter in 1913 and even today you cannot make a reservation, yet patrons happily wait hours for the sweet seafood it serves — specifically its namesake stone crab claws. Joe’s is high-class-meets-the-sea, with topnotch customer service and fresh food. The key lime pie will be the proverbial frosting on the cake of your meal at Joe’s.
THE CLEVELANDER
THE BEACH!
By some accounts, it’s the best place to party in South Beach (and has been for more than 70 years). At the heart of the Art Deco Historic District, the Clevelander (part of the Clevelander Hotel) has bars throughout its pool and patio area, all of which face the beach along Ocean Drive at 10 th Street. Try to behave yourself (or don’t, we won’t judge).
Why else are you in Miami Beach if not to spend some time lounging at the ocean? Attendees with an All-Inclusive Festival Pass have access to The James’ private beach with lounge chairs and umbrellas to enhance the relaxation of listening to the waves, and personal waiters to keep the piña coladas flowing as you gaze out upon some of the most beautiful waters you’ve ever seen.
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A JURY CHAIR’S PERSPECTIVE
Nigel Parry’s name has been synonymous with amazing portrait photography for the last two decades. His probing, intimate style has laid bare the souls of Barack Obama, Tom Wolfe, Angelina Jolie, Woody Allen, LeBron James, Cornel West, and Mark Zuckerberg — to name just a few — and is the established go-to for stunning covers. As Photography Jury Chair for the ADC 93rd Annual Awards of Art + Craft in Advertising and Design, Nigel’s well-trained eye will guide ADC’s Photography Jury to select the very best work this year — and he’s going to be picky.
Nigel Parry actual technology doesn’t bother me. You’re just doing it electronically rather than with chemicals, and that’s actually a lot safer! The amount of chemicals I’ve breathed in my time … I wouldn’t like to think about. What I worry about is the way that it’s become possible to get what seems like adulation from complete strangers that therefore reaffirms one’s existence. You may take a picture of a nice little poodle dog that’s called whatever — Snelly — that actually has no photographic value whatsoever. But you may have a gazillion followers, so you suddenly think you’ve photographed the best thing since sliced bread, but you haven’t at all. It worries me that people come out thinking they’re great photographers just because they have so many ‘likes.’
NIGEL PARRY: The constant quest to find a photograph that puts you so much in touch with the character of the person that you’re photographing that you almost smell them, or it makes you take a sharp intake of breath because you feel their presence looming out of the photo. That’s my constant end. But the way that you do that is a terribly arduous process. I don’t find the process of taking photographs very enjoyable. ADC: Really? NIGEL: No. I know this is nowhere near a comparison, but to me when people say, “Have fun!” it’s a little bit like saying that to someone just as they’re about to go into the labor ward! Because there’s a little piece of me in every little thing that I do. The way that you can make a connection with people is often to lay yourself very bare in front of them and open yourself extremely emotionally. ADC: What has been one of your most unexpected interactions with a subject? NIGEL: Sometimes you are able to have this connection that’s so strong with someone that you almost become one with the person that you’re photographing. I know this sounds all wanky and pathetic, but you almost know what the person is going to do and they know when you’re going to photograph them. It becomes a sort of beautifully choreographed dance that hasn’t been pre-arranged before, but for some reason, you both know what’s going on.
The person that happened with the most was Ralph Fiennes. He said at the end of it, “I knew exactly when you were going to take the photo, and I felt I knew exactly that you knew what I was going to do.” And I said, “Yes, that’s right.” It’s one of those moments where you almost feel like you’re inside someone’s head. Trying to get to that part is what takes its toll. It makes me sweat a lot, I feel like a fool, and I’d do anything to get to that part. ADC: What is the impact of the increased access that technology provides for amateur photographers? NIGEL: It’s not the equipment that you use to take the photograph, it’s the photograph that you take. Whether you take it on a phone or whether you take it on a $70,000 Hasselblad, it can still have the same disastrous, or the same wondrous results. The
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ADC: What will you be looking for in the ADC 93rd Annual Awards winners? NIGEL: I’m looking for great compositions. I’m looking for what I always look for in my own photographs: huge, immense personality. Something that would stop me on a page. Photographs have to convey a message. That’s all photography is about. If it doesn’t speak to you immediately, you’ve failed. I’m going to look for stuff that’s not been overly digitally manipulated. If I see something that’s been super retouched, it’s immediately going to get killed. If you can’t do it with your fingers and not much else, then you shouldn’t have taken the picture in the first place. Hear more from Nigel at adcawards.org and see who his jury awarded at the PAUSE Night Celebration at the Bass Museum of Art during the ADC Festival in Miami Beach in April
PHOTO: Nigel Parry/CPi
ADC: Your photographic style has a timeless quality without feeling staid. What inspires you?
MEMBERS’ MUSINGS ADC Members open up for ADC Magazine
WITH WHICH ADC HALL OF FAME LAUREATE, ALIVE OR DEAD, WOULD YOU MOST WANT TO HAVE A CONVERSATION, AND WHY?
BRANDON BOLLAND
AMBER FERGUSON
COPYWRITER
DESIGN EDITOR
GRAPHIC DESIGNER
TORONTO, CANADA
BROOKLYN, USA
BUENOS AIRES, ARGENTINA
“Alex Bogusky (2008). I aspire to do work that would be able to be held up to his one day, and cause the same kind of excitement, not only in my peers, but in the general public. He always seems grounded in his work, and is excited about the possibilities that we haven’t even thought of yet. He just seems like someone that is keen to hear ideas out and build upon them with intelligent conversation, or spin off into something else entirely wild and awesome.”
“I would want to have a conversation with Jim Henson (1991). I learned a lot from Sesame Street, and it inspired me to become a better person. His work showed people to be the change you wish to see, which is something I want to translate into my work. I want to inspire people to not be afraid of who they are; like Kermit said ‘It’s not easy being green.’ “”
“I would like to speak with A.M. Cassandre (1972). For me, he is the king of balance between everything; subtlety and strength, boldness and elegance, thought and emotion, color and form, a direct message and a story within the message. It’s like a movie in one graphic piece. I would like to ask him how conscious he was of this incredible way he had of composing, because his design is like music.”
EMRE TELLI DESIGN & ART DIRECTION STUDENT
STEWART TRAVER ART DIRECTOR & PHOTOGRAPHER BROOKLYN, USA
MILAN, ITALY
“Lee Clow (1990). The fact that he worked for so many years together with Steve Jobs in the creation of Apple’s ads intrigues me…I’m sure he would share invaluable experiences and give personal insights about his time at Chiat\Day then, and TBWA\Chiat\Day now.”
FEDERICO ROZO
MICHELLE CASANOVA CREATIVE DIRECTOR SEATTLE, USA
“Herb Lubalin (1977). If he were still alive, I would like to ask him how he feels about his most ubiquitous typeface, Avant Garde, being misused and overused today, and if he would have changed the design at all to make it more suitable for an everyday typeface instead of its intended original use as a logotype.”
Not yet a member? Visit adcglobal.org/membership to learn more ADC
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“Leo Burnett (1993), without a doubt. As an entrepreneur trying to build my own agency from the ground up, I think being able to speak with a man who engineered the birth of an advertising behemoth would be pretty inspiring, to say the least.”
D O W N L O A D T H E A D C A N N U A L 9 2 I PA D A P P