Editor’s Column

This year’s Advertising Annual reflects the changes in the industry with substantial growth in online advertising, integrated campaigns and broadcast media. The only drop we registered was in traditional print media. But even this category showed innovation in creative media buys and positioning.

Go to Jurors Biographies

“The sheer number of entries was a shocker,” said Guy Seese of Seattle, Washington-based Cole & Weber/Red Cell. “Even the number of entries that made it into the finals was significant. And the reprint quality from São Paulo and Singapore was extraordinary.”

“I was surprised how the television production values between the big budget national advertisers and the small local retailer has been bridged,” added Isidoro DeBellis of Berlin Cameron/Red Cell in New York, New York.

“I was excited to see some of the interactive work, and inspired by its humor and storytelling,” said Tom Moudry of Martin|Williams in Minneapolis, Minnesota.

“I learned that if you have a multimedia event, you need to document the heck out of it in order to present a nice cohesive expression of the campaign pieces,” said Carolyn Tye McGeorge of RightMinds in Richmond, Virginia.

Not all jurors comments were without some justifiable criticism.

“The Internet is still the weak sister in many campaigns and after listening to all the radio, I realize we no longer know how to use that medium either,” said Lisa Francilia of TBWA Vancouver, British Columbia, Canada.

“I continue to be disappointed in the number of pee-pee jokes and puerile naughtiness that is substituted for an idea,” said Luke Sullivan of GSD&M in Austin, Texas. “Such a tone works for about one in a trillion products. Vulgarity is probably best left for open-mike night at the clubs.”

“I can’t believe there’s still a place for the shock value of porn,” added McGeorge. “The old male performance jokes, the sophomoric locker room humor for woman’s products and clothing—some were down right distasteful. I can’t believe creatives aren’t noticing that the judges are on to that.”

“Creative people who have the skills to capture the public’s attention and communicate effectively across a host of platforms are more important than ever.” —Rob Siltanen

When asked about the ever expanding media channels, Sullivan said to stay relevant to clients, creatives are going to have to learn a lot more than how to write a headline. “Creativity is still at a premium, but to deliver that creativity in today’s market requires a good understanding of all the new distribution channels,” he said.

Of course, more channels means the possibility of greater demographic fragmentation. “I wish clients would stop wanting to be all things to all people and stop worrying about offending the ones they aren’t talking to,” said Francilia. “Otherwise advertising will become the equivalent of a proper English dinner—boiled, bland and with the currency conversion, still rather expensive.”

“I have come to the conclusion that fragmentation leads to crappy work,” added Moudry. “It may be able to slice a target deli-thin, but if the work sucks; who’s gonna care?”

When asked about the future, Rob Siltanen of Siltanen & Partners Advertising in Marina Del Rey, California, believes the Web will continue to take on a greater role. “Computers and emerging technology devices will be seen as television sets with an unlimited number of channels,” he said.

“I think consumers will increasingly control brands, even to the point of hijacking their favorites,” said Seese. “The brands that encourage consumer participation will be the brands that succeed.”

“Next year there might be a ‘best product placement’ category,” DeBellis suggested. “Or ‘best use of a product in a video game.’”

“It seems to me that advertising as a model is going to have to evolve,” said Carolyn Hadlock of Young & Laramore advertising in Indianapolis, Indiana. “Rather than just filling corporate coffers, it’s going to have to help further social causes and aid in globalizing not just business, but society at large. Advertising can be socially progressive and make money. The two are not mutually exclusive.”

“As a society we are able to adapt and blend multiple messages and media. Each media just needs good ads.” —Carolyn Hadlock

As in previous years, we employed a two-step jurying system, screening and finals. Due to increasing time constraints, the judges screened the radio commercials and online advertising in their own offices prior to arriving in Menlo Park.

In our office, they worked in teams of three (Jean Coyne acted as the ninth juror due to a last-minute cancellation), screening a third of the television, print and projected entries in one of three halls equipped with broadcast equipment and six rows of tables for print. Print entries were spread out on the tables by category and each juror reviewed the entries independently. Any juror could put an entry into the next round by handing it to a member of our staff. Television, integrated campaigns, digital and slide entries were screened by checking an “in” or “out” box on scoring sheets.

After all the entries were screened, we combined the selections from the three teams for finals. During the finals, all eight judges worked as a single team. In one hall, print entries were spread out on tables by category. Two paper cups, one white and one red, with slots cut in the bottom, were placed upside down to the right of each entry, white cups for “in” votes, red cups for “out.” Each juror voted by placing a different colored ceramic tile into the appropriate cup. A check of the tile colors ensured that every judge voted on every single piece.

After all the jurors were finished voting on the print setup, they moved to the other hall for a final session of TV, radio projected images or integrated campaigns. Online advertising was judged on a bank of computers in another location in our office. Again voting was done by each juror checking the “in” or “out” column on the scoring sheets.

Judges were not permitted to vote on projects they were directly involved in. When judges’ pieces were in the finals, I voted in their stead.

I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 46th annual exhibition. —Patrick Coyne ca

Jurors Biographies


Isidoro DeBellis

founding partner and co-creative director

Berlin Cameron/Red Cell

Isidoro DeBellis is a founding partner and a co-creative director of Berlin Cameron/Red Cell in New York City. DeBellis attended the University of Toronto and the University of Winsor and graduated with a degree in communications, followed by an accelerated advertising program at St. Clair College. Isidoro, also known as Izzy, wanted to make films after graduating and discovered that it cost money, lots of money to make films. So he decided to make commercials, since people paid you to make them. Isidoro has worked for numerous agencies but the ones you’ve heard of are Chiat/Day, Wieden+Kennedy Philadelphia and he has been with Berlin Cameron for the past twelve years. His awards include Communication Arts, D&AD and The One Show.


Lisa Francilia

creative director


Lisa Francilia was creative director of the Vancouver office of TBWA when she judged our competition. She is returning to one of Canada’s largest video gaming companies, Electronic Arts, for a second time, after taking a short break where she served at TBWA for just over two years. Francilia got her start in advertising as an art director at Scali McCabe Sloves, Vancouver, which was purchased by Bob Bryant, Gary Fulton and Daniel Shee in 1995. Prior to her first stint at EA, Francilia worked as creative director of Bryant, Fulton & Shee where she maintained the firm as one of the top five creative agencies in Canada for over three years. Lisa was born in Vancouver and still lives there with her husband, Dirke Botsford, and their son.


Carolyn Tye McGeorge

creative director


Carolyn Tye McGeorge is creative director of RightMinds in Richmond, Virginia. Previously, she was the cre-ative director of Work, Inc., formerly Just Partners. She also spent four years at The Martin Agency as a senior art director. Carolyn graduated from Virginia Commonwealth Uni-versity earning her BFA. She has created nationally honored work for a host of clients including Colonial Williamsburg, Virginia Tobacco Settlement Foundation, Healthtex, Wrangler, Mercedes-Benz, Remy Martin Cognac, Super 8 Motels and the Virginia Historical Society. She has won many local and national creative awards, including the Addy’s, Art Directors Club of New York, Communication Arts and The One Show and is a three-time Kelly Finalist. She spends her free time raising her two sons, Ellett and Wyatt, and playing exhausting rounds of two-on-one basketball games.


Tom Moudry

president, chief creative offices


Tom Moudry is president, chief creative officer at Martin|Williams, Minneapolis. Prior to M/W, he worked as vice president/executive creative director for Omnicom New York. During that time, Moudry was responsible for all the creative work at SBC. A native Minnesotan, Tom began his career in Chicago at Hal Riney & Partners. While in Chicago, Tom also worked at Cramer-Krasselt and Leo Burnett for a number of Fortune 500 companies. In 1993, Tom moved to Texas and joined DDB/Dallas as group creative director. In 1999, he returned to Minneapolis as senior vice president/group creative director at Carmichael Lynch. His award-winning work has been recognized by the Art Directors Club of New York, Cannes, the Clios, Communication Arts, the London International Advertising Awards and The One Show.


Guy Seese

executive creative director

Cole & Weber/Red Cell

As Seattle, Washington’s Cole & Weber/Red Cell’s executive creative director, Guy Seese oversees the agency’s integrated cre-ative department. Brought on four years ago, Seese handles the agency’s ongoing assignments for Nike, Rainier Beer, Borba Skincare, Gallo Wines and the Woodland Park Zoo. Prior to Cole & Weber/Red Cell, Seese gained the bulk of his client experience working with global brands (Intel, Volvo, MCI Worldcom) during his tenure at Euro RSCG in New York. He spent four years there as senior art director before joining Mad Dogs and Englishmen New York as a partner and creative director. At Mad Dogs, he created campaigns for Canadian Club Whisky, Haribo Gummi Bears and the Corcoran Group Real Estate. His work has been recognized in Archive magazine, Communication Arts, the Clios, Kelly’s, Cannes, Art Directors Club of New York and Graphis.


Rob Siltanen

chairman, chief creative officer

Siltanen & Partners Advertising

Rob Siltanen is chairman, chief creative officer of Siltanen & Partners Advertising in Marina Del Rey, California. Siltanen was one of the industry’s first to utilize a client’s Web site as a broadcast media vehicle for extended length creative content. Rob’s agency, Siltanen & Partners, was also the first agency to turn an advertising campaign character into a major network prime-time sitcom (Baby Bob, CBS 2002 and 2003). Rob has discussed his creative work on shows such as Oprah and Good Morning America and his honors include Time magazine, Rolling Stone, USA Today and Adweek Commercial of the Year, the Emmy Award for best commercial and two Grand Effie Awards. A graduate from the University of Oregon, Rob and his family live in the Los Angeles community of Manhattan Beach.


Luke Sullivan

group creative director


Luke Sullivan is a group creative director at GSD&M in Austin, Texas. In years prior, he spent five years at The Martin Agency in Richmond, Virginia, ten years at the Minneapolis, Minnesota agency Fallon McElligott and four as the chief creative officer at WestWayne in Atlanta, Georgia. He began his career as an understudy of Tom McElligott at Bozell & Jacobs in Minneapolis. His 26 years in the business include working for such clients as SBC, Legacy, United Airlines and Lee Jeans. Sullivan is the author of a book on advertising, Hey Whipple, Squeeze This, now in its second edition, avail-able in five languages, and used across the country in colleges. He has been honored in every national and international competition, including Cannes, Communication Arts, London’s D&AD and The One Show.


Carolyn Hadlock

principal and creative director

Young and Laramore advertising

Carolyn Hadlock is a principal and creative director of Young & Laramore advertising in Indianapolis, Indiana. As creative director, Hadlock has pushed, prodded and inspired teams to do original, effective creative for Carmelite Nuns, Delta Faucet, Goodwill Industries and Stanley Steemer. Deciding early on between nursing and advertising, she chose the X-Acto™ blade over the hypodermic syringe and has a BFA in Visual Communications from Indiana University Herron School of Art. Joining Y&L in 1991 as an art director, her work has garnered recognition and many awards including The Art Directors Club, Advertising Age, Adweek, Communication Arts, Cannes, Effies, Graphis and The One Show and has been featured on NBC’s Today Show and in the Wall Street Journal, the Los Angeles Times and USA Today.

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