Editor’s Column

 Of the 4,350 entries we received this year, the number of social media and online video submissions grew 50 percent thanks to a reconfiguration of the digital advertising categories that better reflects today’s media landscape. Despite the increasing use of digital media, the jury still found themselves drawn to the timeless fundamentals of good advertising.

Go to Jurors Biographies
“What I noticed with this body of work is a renewed effort for good old-fashioned crafting and storytelling,” said juror Mark Taylor.

“I saw a lot of strong visual design and communication that I am glad CA celebrates,” juror Dan Fietsam said. “I’ve always held CA up as the guardian of beautiful, simple, powerful, visual-led design.”

“There is a lot of focus on trying new things,” juror Denise Rossetto said. “Some feel complicated with technology for technology’s sake, forgetting about relevancy and insights. Then you see something that gets it all right and it is magic.”

“As usual, there were a lot of ‘this was a weak year’ complaints during the preliminary stages, but by the time we got to finals, the great stuff was as good as any great year,” said juror John Matejczyk.

When asked about disappointments with this year’s submissions, the majority of complaints were focused on digital.

“I wish there had been better digital and social entries,” juror Xanthe Wells said. “No matter how much people talk about emerging media, it seems that our industry is still very focused on Big tv. It’s not hard to be great in digital, and I was surprised that I didn’t see more fun, creative ideas using the space in a new way.”

“Too many entries with social media components didn’t have a strong link to the core concept—or even have a concept,” juror Jim Hagar said. 

“In a show like CA, we honor the great stuff that has the chance of making culture a little more pretty, a little more interesting or thought-provoking.” —John Matejczyk

“As soon as there’s a new medium, the industry pounces on it,” juror Chris Lange said. “I like to see ideas that are employing the medium as a tool versus just trying to do a Twitter deal or something.”

“We saw a lot more long-format pieces, where brands are trying to draw people in through content,” said juror Pam Fujimoto. “But many of the pieces are not making a tie-in to the brand enough.”

So what does the future of advertising look like?

“Agencies need to get back to leading the clients to creative solutions,” Fietsam said. “We have to be brand-centric, creative solution engines, not an irrelevant group of case videos made for ad juries.”

 “With the proliferation of social media bringing on increased transparency, the role of the brand and the conversation it has with consumers is becoming much more ‘real,’” Taylor said. “Those who embrace this can define their role. In turn, that message is much more genuine and relevant to consumers.”

“I’m personally hoping there will be a bit of a backlash against technology,” Hagar said. “It may be wishful thinking, but I think companies that help people reacquaint themselves with true human experiences will lead the way.”

“It’s hard to tell what will drive our next chapter,” Wells said. “However, I do think everyone’s necks are going to hurt after a few more years of being hunched over our phones.” 

“The power of great advertising has always been about the power of a great idea,” Rossetto said. “We aren’t changing the fundamentals of what we do, just how we express these ideas. We have more canvases, which makes it the most exciting time ever.”

“Craft is still important. Idea may be king, but if the execution isn’t there, it’s not a good ad.” —Pam Fujimoto

As in previous years, we employed a two-step jurying system, screening and finals. For screening, the jurors worked in teams of three (executive editor Jean Coyne acted as the ninth screening juror), 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 to view projects with digital components on a projection screen. 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 Coyne or I voted in their stead.

We would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 54th annual exhibition. —Patrick Coyne ca

Jurors Biographies

landing-image

Dan Fietsam

chief creative officer

Energy BBDO

Dan Fietsam is the chief creative of?cer of Energy BBDO in Chicago. Previously Fietsam held leadership roles at Publicis in the West, DDB, Y&R and Leo Burnett. He started his career as a junior copywriter at Ogilvy Chicago. His work for T-Mobile, Anheuser-Busch, Coca-Cola Japan, Dell, Sears, Jim Beam and Dewars has won at Cannes, Clio, Communication Arts, D&AD, the One Show and the one award his Mom actually recognizes, an Emmy.

landing-image

Pam Fujimoto

creative director

Creature

Pam Fujimoto is a creative director at Creature in Seattle. Previously at TBWA\Chiat\Day New York and Wong, Doody, Crandall, Wiener in Seattle, she’s worked on projects for Absolut Vodka, Alaska Airlines, T-Mobile, Seattle Supersonics and the Seattle Inter­national Film Festival. Her awards include Cannes Lions, Communication Arts Design and Advertising, D&AD and the One Show. A graduate of the Art Center College of Design, she is the proud mother of four-year-old identical twin boys.

landing-image

Jim Hagar

creative director

Hill Holliday

Jim Hagar joined Hill Holliday in 2010 to oversee creative on Merrill Lynch. Prior to that, he was a creative director at Mullen for ten years, where he ran the Nextel, Stanley Tools and General Motors accounts. His first creative director position was at Riddell Advertising in Jackson Hole, where he gained national recognition for his work on Wyoming Tourism, Mongoose bicycles, Mountain Hardwear, Simms Fishing Products and Winston fly rods.

landing-image

Chris Lange

founder/creative co-chair

mono

Chris Lange is founder/creative co-chair of Minneapolis-based mono. Lange has spent the last nine years creating and growing an agency driven to simplify the way agencies work: with each other, with clients and with a diverse approach to creative solutions. He has helped drive mono’s collaborative and innovative culture, fostering work that has led to awards from AIGA, Cannes Lions, Communication Arts and more. mono was named agency of the year by both the 4a’s and Advertising Age.

landing-image

John Matejczyk

founder and creative director

MUH-TAY-ZIK | HOF-FER

John Matejczyk is founder and creative director of San Francisco agency MUH-TAY-ZIK | HOF-FER. Within the ?rst three years of business, the agency was honored with two One Show pencils and top honors from AICP, ANDY, the Art Directors Club, Cannes, Clios, Communication Arts and SXSW. Advertising Age named them a “Small Agency of the Year.” Prior to founding the agency, Matejczyk worked as a creative director at Goodby Silverstein & Partners, Fallon and Y&R Chicago.

landing-image

Denise Rossetto

executive creative director

DDB Toronto

Denise Rossetto was appointed executive creative director of DDB Toronto in 2010 and enjoys the distinction of being one of Canada’s top ten creative directors as ranked by Strategy magazine. She has won awards in every national and international award show including Cannes Lions, Communication Arts, D&AD and the One Show. Rossetto has also participated in several panels discussing women’s issues in advertising and most recently moderated a panel of the top female business leaders in Canada.

landing-image

Mark Taylor

vice president/executive creative director

Crispin Porter + Bogusky

At the time of the judging, Mark Taylor was vice president/executive creative director of Crispin Porter + Bogusky in Boulder, Colorado, where he has spent the majority of his career. He has received multiple “Best of Show” honors in virtually all of the industry’s most prestigious award shows, including winning the Grand Prix at Cannes in four separate categories. In 2012, he was listed as one of the top ten most-awarded creative directors by Creativity magazine.

landing-image

Xanthe Wells

executive creative director

Pitch

Xanthe Wells is executive creative director at Culver City, California-based “media-agnostic idea factory” Pitch, serving Burger King, Pinkberry, Maaco, Meineke and Living Spaces and creating projects for Asics and Style Network. Before joining Pitch in 2013, Wells spent nearly seven years as a creative director at TBWA\Chiat\Day Los Angeles and, prior to that, two years as an art director at Ground Zero (now Wong, Doody, Crandall, Wiener).

Create an Account
Subscribe
Sign In

Subscribe
Sign In