“The best work, across all media, were the pro bono projects,” juror James Clunie said. “I saw a campaign for the ACLU that utilized the Google search bar in such an honest, frightening way.”
“One of my favorite executions was the Intel film from Venables,” said juror Jim Haven. “The adventure depicted across the Internet was detailed, clever, beautifully executed and mind boggling.”
“I had never seen the Gatorade Replay series before,” said juror Tina Johnson. “What a neat idea.”
“I loved the Flying Horse ‘Go, Go, Go’ campaign,” said juror Chuck Rachford. “I’m still showing it to people weeks after judging.”
“There was a campaign about texting while driving that really made you think,” juror Mark Wenneker said. “It blows my mind how people are willing to put their lives and families’ lives on the line. Of course that didn’t stop me from doing it myself on my way to work. I had a pretty good tagline that I didn’t want to forget.”
Along with all the great ideas came a few disappointments.
“I was pleased to see an increase in longer format cause-based advertising, but I wanted to see a wider variety of entries,” juror Helen Pak said.
“I was surprised at how much of the printed work was submitted digitally,” juror KT Thayer said. “Although most of the concepts still came through clearly, I think a lot of the details and craft can sometimes get lost when you don’t have a physical printed piece in front of you.”
“We knew there were going to be a lot of entries, but when you see them all collected in one place, it gives you perspective on how hard it really is to get something into the Annual.” —KT Thayer
“I’m always surprised at how much time people expect you to engage with their brand,” Clunie said. “I don’t have time to upload a picture of my face to a Web site so I can see what I look like sitting behind the wheel of a Jetta or on an American Standard toilet or whatever.”
No critical commentary would be complete without some discussion of the ubiquitous campaign documentary video.
“There were some really great case studies, but the length of time it took to watch some of them was brutal,” Wenneker said. “There should be a one-minute rule.”
“There’s something to be said for looking at work without someone describing it to you,” Thayer said. “The idea still needs to be great when there isn’t someone explaining how popular and successful it is.”
When asked about current trends in advertising, juror Mike Caguin is seeing a lot of what he’d classify as PR events promoted through social channels. “Nothing is just one ad any more,” he said. “Campaigns will only become more complex, interesting and difficult to judge.”
“We’re seeing advertising pop up in places it never was before—on the water, in the middle of the road, as holograms on TV screens,” Rachford said. “If we keep trying to outdo ourselves, we’ll live like in the movie Idiocracy. I hope this trend ends.”
“People like advertising if it’s good and presented honestly,” Haven said. “The worst thing about all the innovation is that it expands the possibility of mediocrity and public distaste for invasive and uninspired messages.”
“There was a tremendous amount of really good ideas, but the truly great ideas stood out and will stand the test of time. You’ll be able to pick up the Annual five to ten years from now and see the beauty in the disruptive thinking.” —Mike Caguin
“Brands can’t keep trying to be all things to all people and because of that the work will inevitably become more interesting, not to mention more relevant,” Thayer said.
“People are relying more and more on their social networks for everything from discovering new products to feedback on buying decisions to creating social shopping,” Johnson said. “The question we need to ask is, how will advertising play a prominent role in that?”
“The consumer is at the center of advertising with more power than ever before,” Pak said. “Connecting to the consumer with content and conversation are key, regardless of medium. Being memorable is increasingly difficult and our biggest challenge.”
As in previous years, we employed a two-step jurying system, screening and finals. For screening, the jurors worked in teams of three (Jean Coyne acted as the ninth screening 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, radio, integrated and digital 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 another 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 in which they were directly involved. When judges’ pieces were in the finals, Jean or I voted in their stead.
We would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 52nd annual exhibition. —Patrick Coyne ca
KT Thayer is a creative director at Vitro in San Diego. Probably best known for his work on Taylor Guitars, Newcastle Brown Ale and ASICS, KT's nine-year tenure at Vitro began as a writer working on iconic brands like Yamaha Watercraft, Baskin Robbins and Cobra Golf. Prior to Vitro, Thayer worked as a copywriter at Big Bang Idea Engineering and holds a BS in advertising from the University of Colorado at Boulder and an MS in advertising from Virginia Commonwealth University.
chief creative officer
Mark Wenneker is the chief creative officer for Mullen in Boston, Massachusetts. After three years of working on cars and lingerie at The Martin Agency, Wenneker headed west to work at Goodby, Silverstein & Partners. During his nine years at Goodby he worked on HP, Hyundai, Comcast, Doritos, Budweiser and Saturn. Finally, he got the nine-year itch and after hearing that Mullen was moving out of the woods and into Boston he thought maybe something cool could happen there. Over the next three years he has been pitching, restructuring and helping lead the agency to rack up such wins as Zappos, FAGE, JetBlue and Barnes & Noble, as well as getting the number three slot in AdAge's Agency of the Year list and earning recognition in Fast Company as the "4th most Innovative Marketing Company" in the world alongside companies like Google Labs and Ford.
executive creative director
As executive creative director of Colle+McVoy in Minneapolis, Minnesota, Mike Caguin has helped transform the agency from a quiet, conservative ad shop in the burbs, into a vibrant, creatively driven and nationally-recognized agency in downtown Minneapolis. Under his leadership, C+M has been recognized both nationally and internationally in the industry's most revered award shows including Communication Arts, The One Show, the Webby Awards, Cannes, Graphis, AIGA and the Effies. Prior to becoming C+M's creative leader, Caguin worked at shops large and small and from coast to coast, including Butler, Shine, Stern & Partners and TBWA\Chiat\Day. Besides advertising, running, cycling and triathlon are passions for Caguin. He's completed eight marathons, an Ironman and commutes year-round by bike.
creative director (art)
BBDO New York
James Clunie is a creative director (art) at BBDO New York. Over the last seven years, he has produced work for HBO, the Economist, eBay, AT&T, FedEx, Havaianas, Red Stripe, Special Olympics and Smart Car. Prior, Clunie worked in Minneapolis and Boston. In addition to ten One Show pencils, he's won gold, silver and bronze at Cannes, The Andys, New York Art Directors Club and The Clios. He's also received silver nominations from the America-hating D&AD. In 2008, he was named the most-awarded art director in the US by "The Big Won", which tallies performance from all the shows. Clunie has sat on juries for the D&AD, The One Show, The Clios, The New York Art Director's Club, Communication Arts, AICP, The London International Awards, The ADCC (Canada) and others.
co-founder/co-executive creative director
Jim Haven co-founded Creature in 2002 and serves as co-executive creative director of the agency. His role is not just to keep the Creature perspective on the work, but to energize and enable the agency to think in new ways. Before founding Creature with Matt Peterson, he had years of copywriting experience that took him from Portland to San Francisco and Amsterdam to Seattle. Haven has diverse array of brand experiences with virtually every brand category imaginable and contributed to an extensive client list. He still likes to write whenever possible and is searching the world in order to find the perfect pizza.
brand creative group head
The Richards Group
Tina Johnson is a brand creative group head at The Richards Group in Dallas, Texas. For the past thirteen years, she has been on a world tour of some of the best agencies in the biz including Fallon, Mad Dogs & Englishmen, Cliff Freeman, Wieden+Kennedy (in both the Portland and New York City offices) and, most recently, The Richards Group. Johnson has done award-winning advertising for clients such as Nike, ESPN, Prodigy, and Little Caesar's Pizza. At The Richards Group, her responsibilities have included Nortel, CompUSA and Hyundai. It was her new title of mommy that spurred Johnson to move back to Texas in 2003 to join the rest of her family. When she's not busy writing ads, Johnson enjoys entertaining her two girls, Hudson and Scout.
executive vice president/co-executive creative director
Saatchi & Saatchi, Canada
Helen Pak is executive vice president, co-executive creative director of Saatchi & Saatchi, Canada. Prior to being an award-winning creative director, Pak was a Governor General award-winning architect. Her multidisciplinary background and passion for great design and integrated branding has helped shape her advertising career of over sixteen years. Pak has worked at many agencies including Taxi, JWT, Ogilvy and as creative director at Strawberryfrog in Amsterdam where she helped shape global relaunches for clients including Pharmacia Upjohn and Elle.com for media giant, Hachette Filipacchi. Before joining Saatchi & Saatchi Canada, Helen was part of the global team for the highly recognized Dove campaign for Real Beauty, helping launch Dove products in Canada, the United States and Europe.
Chuck Rachford is a creative director at DDB Chicago. He was born and raised in Michigan and spent the first few years of his life living in a lighthouse. This is one of the many interesting tidbits with which he likes to bore houseguests and neighbors. There are others: He attended Grand Valley State University. Over half of his wardrobe is from production companies and shoots. He's currently the CD on Bud Light, a position that has earned recognition from some highly regarded shows, as well as a few less regarded, and then a whole bunch he doesn't even think exist. But he's trying not to dwell on that as he has three wonderful kids who think those trophies are real. And that's what really matters.