50 YEARS OF ADVERTISING PENELOPE DULLAGHAN DANNY CLINCH yU+co. COLORADO POSTERS EXHIBIT ADVERTISING ANNUAL 50 5 0
T H
A N N I V E R S A R Y
ADVERTISING
50
ANNUAL
MAGAZINE ADS INTEGRATED CAMPAIGNS RADIO NEWSPAPER ADS ONLINE ADVERTISING POSTER P U B L I C S E RV I C E T R A D E / I N S T I T U T I O N A TELEVISION COMMERCIALS SELF-PROMOTION
January/February 2010 Twenty-Four Dollars www.commarts.com
Occasionally, in American museums or cultural centers, there will be a crowd of whispering people, gathered around a group of Tibetan monks as they practice the sacred art of dul-tson-kyil-khor. For days, the crowd will watch the holy men slowly construct a mandala of the most intricate detail, using millions of grains of colored sand.
penelope dullaghan by Tiffany Meyers
W
hen it’s complete, the crowd will then watch as the monks ritualistically destroy it. For some, it’s difficult to even fathom. For the monks, the process represents the impermanence of life, the principle of detachment and, as they release the sand into a body of water, a symbol of the earth’s cycles.
Winona Lake, Indiana, is about 12,937 miles from Tibet. But illustrator Penelope Dullaghan shortens the distance. On the porch of a local café, she discusses various pages of her journal, full of type, imagery and found objects. During a lull in the conversation, she appears to mull something over before finally deciding to share it. Looking up, she says that she throws all of her work away. Cricket sound effect. “Sorry—you said, ‘throw it away’? Like, ‘put it in the trash can’ throw it away?” That’s exactly what she means. Except for those pieces she sells, Dullaghan’s every sketch, painting or personal exploration is eventually or immediately expunged. “Whatever I was doing in the past doesn’t represent me as I am now. The ideas are still out there, somewhere in the world. But the actual work—that just becomes baggage and clutter.” Dullaghan doesn’t bring up the Tibetan monks. But the student of yoga and Sanskrit is fully aligned with the ideals of detachment and anitya, or the impermanence of life. It’s one reason she can let go so completely of the physical evidence of her life in art, pretty much totally freaking out her adoring husband, by the way, in the process. She turns to the next page in her journal. It reads: “Past lives. Do they haunt you or are you able to see that those ghosts only stay if invited? Do you know that even now and now and now you’re making ghosts?” With a bfa in design from the University of Indianapolis, Dullaghan began her art directing career in 2000 at the Indianapolis agency Young & Laramore, having interned there first. A few years in, she and copywriting partner Colin Dullaghan began devoting much of their time to Steak ’n Shake, then the agency’s largest piece of business. They married in 2004. That same year, Dullaghan sat at a café with y&l creative directors Carolyn Hadlock and Charlie Hopper, now both principals/creative directors. Taking a deep breath, she slid a handmade card, her resignation letter, across the table. It read: “A ship in the harbor is safe, but that’s not what ships are built for.” Says Hadlock, a Dullaghan fan: “It was very Penny.” Right: “Imagine the Possibilities. Panera Bread wanted something dreamy and just let me show them a bunch of ideas. In this piece I broke away from my usual linework technique and used ink instead. I thought it flowed nicely, a lot like the image does.” Jay Jung, art director. “The Walk. This was a personal piece created for a gallery show. The idea being a woman walking through the woods, and she’s melding with the nature around her until there is no difference between the two.” “Bubblegum. This editorial piece was for a story about a little boy who chews a piece of gum for the first time and finds it to be a transcendent experience.” Dorothy Yule, art director; San Francisco Chronicle, client.
44
Advertising Annual 2009
Communication Arts
45
50 YEARS OF
ADVERTISING
From the creative revolution of the 1960s to the explosion of new media in the 1990s and beyond, advertising creatives have always looked for new ways to promote brands while continuously redefining the field of advertising itself. On the following pages is a sampling of work and commentary from just a few of the 183 advertising agencies we’ve profiled in the last 50 years.
“Expediency can be the ruin of a job. Here, making money is a secondary consideration. Doing a great job is the primary one.” —Bob Gage, Doyle Dane Bernbach, New York, 1966
TOP ROW: CBS Television Network newspaper ad. Lou Dorfsman/Al Amato, art directors; Robert Strunsky, writer; Lou Dorfsman/Al Amato, designers; CBS Photo, photographer. “Lou Dorfsman” (Jan/Feb 1967); Napier magazine ad. Gene Federico, art director; Nancy Haynes/Cynthia Johnson, writers; Bill Helburn, photographer; Lord, Geller, Federico, Peterson, ad agency. “Lord, Geller, Federico, Peterson” (Jul/Aug 1972); Geritol magazine ad. Ron Travisano, art director/creative director; Dick Raboy, writer; Nick Samardge, photographer; Della Femina, Travisano, ad agency; J. B. Williams Co., client. “Ron Travisano” (Sep/Oct 1972). BOTTOM ROW: Fiat newspaper ad. Ralph Ammirati, art director/designer; Marty Puris, writer; George Gomes, photographer; Carl Ally, Inc., ad agency. “Carl Ally, Inc.” (Jan/Feb 1973); Barnett Banks newspaper ad. Charles McKinney, art director/creative director; Charles McKinney/ Pat Holstein, writers; Harvey Stein, photographer; McKinney & Silver, ad agency. “McKinney & Silver” (May/Jun 1973).
78
Advertising Annual 2009
“There’s no such thing as creative advertising. Or good, solid advertising. There’s just advertising. It’s either effective or not effective.” —Rene Vidmer, Hecht Vidmer, 1972
1967-1987 “A woman must first prove that she’s not there because of her boobs and her hips. She’s there because she’s good and she’s earned it. Just like a man.” —Kathe Tanous Mooslie, Doyle Dane Bernbach, Los Angeles, 1971
TOP ROW: Gingiss Formalwear magazine ad. Barry Vetere, art director; Jan Zechman, writer; Richard Noble, photographer; Zechman Lyke Vetere, ad agency. “Zechman Lyke Vetere” (Jan/Feb 1975); Rape Reduction Project newspaper ad. Hy Yablonka, art director; Mark Doyle, writer; Lamb & Hall, photographer, Chiat/Day, ad agency. “Hy Yablonka” (Mar/Apr 1979). BOTTOM ROW: Rapala magazine ad. Nick Rice, art director; Duane Johnson, writer/ creative director; Dick Brude, illustrator; Carmichael-Lynch Advertising, ad agency; Normark Corporation, client. “Carmichael-Lynch” (Sep/Oct 1979); Virginia Electric & Power Company newspaper ad. Mike Hughes writer; Tom Layman/Harry Jacobs, art directors; Harry Jacobs, creative supervisor, The Martin Agency, ad agency. “The Martin Agency” (Mar/Apr 1985); Don’t mess with Texas integrated campaign. Tim McClure, creative director; GSD&M, ad agency; State Department of Highways, client. “GSD&M” (May/Jun 1987).
Communication Arts
79
1
2
84
Advertising Annual 2009
3
Consumer Magazine Ads 1 Shawnn Lai, art director Stephen Kyriakou/Victor Ng, writers Victor Ng, executive creative director Szeling Shooting Gallery, photographer Wishing Well, illustrator Euro RSCG Singapore (Singapore), ad agency Atlas Sound and Vision Pte Ltd, client 2 Jason Stanfield, art director Derek Sherman, writer Derek Sherman/Jason Stanfield, creative directors Dan Fietsam, executive creative director Mike McQuade, designer JJ Sulin, photographer Liz Miller-Gershfeld, art buyer Jackie Ampel, print producer Energy BBDO (Chicago, IL), ad agency Jim Beam, client 3 (series) Adrian An/Peter Moyse, art directors/writers/ creative directors Chafic Haddad, executive creative director Tina Patni, photographer Adrian An, typographer/production designer Ashish Vaze, retoucher Mario Gomez Jr, production manager Adrian An/Mario Gomez Jr, production artists Prabhakar Iyer, strategic planner JWT Dubai (Dubai, United Arab Emirates), ad agency Everlast/David Reily, clients
Communication Arts
85
1
Integrated Campaigns 1 Margaret Johnson/Tyler Magnusson/Tanner Shea, art directors Andrew Bancroft/Jim Elliott/Brooks Jackson/Matt Rivitz, writers Jim Elliott/Margaret Johnson, group creative directors Cris Logan, designer Patrick Griffin/Daniel Troug, editors Barbary Post/Lost Planet, editorial companies Drazen Bosnjak, music composer Q Department, sound design Laurent Ledru/Cedric Nicolas-Troyan/Trish Sie, directors Jenny Taich, print producer Hilary Coate, agency producer Kelsie VanDeman, interactive producer James Horner, executive agency producer Bob Industries/Psyop/Unit9, production companies Goodby, Silverstein & Partners (San Francisco, CA), ad agency Häagen-Dazs, client “Our challenge was to give a super-premium ice cream brand momentum and relevance in an increasingly earth-conscious society. As Colony Collapse Disorder threatened the U.S. bee population, agency planners recognized that 40 percent of the natural flavors used in HäagenDazs ice cream could disappear—and with it, one third of all the natural products we eat. So they convinced Häagen-Dazs to put their trust in the idea of creating an integrated program (‘HD loves HB’) to help preserve both its long-term future and the well-being of an all-natural workforce: the honeybees. The result was one of the fastest-moving media and PR stories of 2008, real contributions to bee research, renewed revenue growth and, ultimately, testimony before Congress to save the honeybee.”
158
Advertising Annual 2009
Communication Arts
159
design
Ideation—where do you start? Designers and art directors describe their working processes to clients, explaining the steps the client will pass through as communication challenges are solved. But once the client leaves the studio, where do creatives begin the idea-making process?
Trends
Lecturer Kate Herd from Product Design and Engineering at Middlesex University
“
The best ideas come as jokes. Make your thinking as funny as possible.
”
—David M. Ogilvy
in the U.K. challenges her first-year design students to generate fifteen new product/ packaging concepts for something as familiar as M&Ms. “It takes time to get
Interaction designer and
the right mixture of
avid sketcher Jason
tools, but once you
Robb’s tool box includes
find it, solving the real
his favorite Sakura
problems become all
Micron .45mm black
the more enjoyable.”
marker plus two grays
jasonrobb.com
for shadows and red and yellow for emphasis.
Australian illustrator Jane Reiseger’s notebooks are the playground for ideas that appear later in client work. janereiseger.com © Albert Comper
CA Queries Creatives
How do you (or your team) start the ideation process? Ingred Sidie, Design Ranch, Kansas City, MO. “Design Ranch uses the scatter and collect approach. First, we set everyone free with the project in mind for their own discovery. After letting our thoughts marinate for a while, we reconvene for a group brainstorming session—feedback encouraged. Absurdity is always permitted during brainstorming since a crazy concept can often be packaged as more manageable. If that doesn’t work, we lock everyone in the basement and post good ideas as bail.”
Joshua Chen, Chen Design Associates, San Francisco, CA. “I don’t have a prescribed list for my team, but if I had to choose one, it would be to step away from the computer! Some other ways we’ve approached projects include: a field trip to the library to dig deeper into research; collect scraps of visuals, type samples, images, color swatches, artifacts, music playlists—anything that resonates at an intuitive level; crowd-sourcing—query people in our network for their opinions, thoughts, etc.”
Cathi Pavy, BBR Creative, Lafayette, LA. “Following a creative brief, the team disperses for individual concepting. During this time, pages of ideas, words and scribbles are committed to paper. In traffic, in the shower, at the dinner table—everyone continues to, consciously and subconsciously, consider the task, vying for ‘the’ idea. When we regroup, ideas are discussed, tweaked— laughed over. New ideas arise and individual ideas meld together. It’s a collaborative, enjoyable and effective effort.”