We received 11,468 entries to this year’s Advertising Annual, a slight drop from last year. When looking over the winning entries, the most notable creative concepts were based on unusual media buys.
“It was interesting to see some of the non-traditional ideas entered,” said Joanne Kim of Marcus Thomas in Cleveland, Ohio. “Agencies seem to be trying to reach consumers in new places, but I wonder how much of that will turn the consumer off, or worse, make them more numb.”
“It was great to see, firsthand, the intelligent rule-breaking from agencies like Crispin Porter + Bogusky,” said Mary Knight from FCB, Seattle, Washington. “We can all learn a lot about their willingness to do what has not been done, all while being perfectly appropriate to the brand idea.”
Of course, once a trend is identified it doesn’t take long for the backlash to begin. “Everyone’s rushing to imitate the media freshness of the first MINI campaign, but the results are blatant gimmickry,” said Greg Bell of Venables, Bell & Partners in San Francisco, California. “Clever media doesn’t equal good ideas.”
Shari Hindman of Siddall, Inc. in Richmond, Virginia, was disappointed with the self-consciousness of some of the entries. “People feel like they have to try so hard to get noticed in the shows instead of just doing good solid advertising. It’s like wanting to be Pamela Anderson when you can get as much (better) attention being Audrey Hepburn.”
When asked about the future, Andrew Keller of Crispin Porter + Bogusky, Miami, Florida, warned against the growing interest in product placement. “We are letting in a Trojan horse. We think it makes us look smart to our clients and our consumers. But it won’t work and, by the time we figure it out, all the clients will be gone.”
“Many agencies will begin a slow evolution away from advertising as a service industry and into a creation industry.” —Andrew Keller
“Broadcasting is dead. Welcome to narrowcasting,” said G. Andrew Meyer of Leo Burnett, Chicago, Illinois. “It won’t be long before there is very little distinction between television and the Internet. People will no longer have to accept having dull work foisted upon them en masse, because it’s so easy to opt out when you’re able to choose content as you see fit.”
While more and more agencies are realizing that they may need to think beyond traditional paid media in order to create effective advertising, they have yet to figure out how to charge for services. “Unfortunately, the whole business of advertising compensation is based on a 100-year-old model of media sales commissions,” said Jon Gothold of DGWB Advertising in Santa Ana, California. “The most valuable property that we create is strategic thinking, but it’s going to be difficult to retrain clients on how to properly value what it is we do.”
As in previous years, we employed a two-step jurying system, screening and finals. However, since adding a multiple-media campaign category, the judges screened the radio commercials and banner ads in their own offices prior to arriving in Menlo Park.
In our office, they worked in teams of three, screening a third of the television, print and slide 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, multiple-media campaigns and slide entries were screened by checking an “in” or “out” box on prepared scoring sheets.
“The holy grail of advertising these days: to get someone to say to a friend, ‘Did you see this?’” —Joanne Kim
After all the entries were screened, we combined the selections from the three teams for finals. During the finals, all nine 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, slides or multiple-media campaigns. Web banner finals were judged in another location in our offices. Radio finals were judged in the rear atrium of our building. 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 a judge’s piece was in the finals, either Jean Coyne or I would cast the ninth vote.
I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 45th annual exhibition. —Patrick Coyne ca
Venables, Bell & Partners
Greg Bell is founder and co-creative director of San Francisco-based Venables, Bell & Partners. As group creative director of Goodby, Silverstein & Partners, Bell was running over $200 million in account billings while creating award-winning work for clients such as Discover Card, Netflix, Pacific Bell, Isuzu, Hewlett-Packard, Polaroid and Sutter Home. Prior to Goodby, Bell was the youngest vice president at Cliff Freeman & Partners in New York. Among his awards are ADDYs, ANDYs, Cannes Gold and Silver Lions, Clios, D&AD, multiple Effies, Kelly Awards, One Show and industry magazine awards from Ad Age, Adweek and Communication Arts. In 1995 Dick Clark handed him the $100,000 Mercury Award (yes that’s for radio, yes Greg’s still an art director).
Partner, Executive Creative director
DGWB Advertising and Communications
Jon Gothold is a partner and the executive creative director of Santa Ana-based DGWB Advertising and Communications, the largest independently owned advertising agency in Orange County, California. Before co-founding DGWB in January of 1988, Jon spent time as an art director at NW Ayer, Cunningham and Walsh, and several smaller boutique agencies. With 22 years in the advertising business, Jon’s work has been recognized by most of the biggies: ANDYs, Clios, Communication Arts, New York Art Directors, One Show. He is a third generation native southern Californian, where he currently resides with his wife and three sons. He is a frequent speaker and educator, and in between all of that he searches obsessively for children’s advertising premiums from the 1930s and 1940s.
Senior vice president/Executive creative director
Shari Hindman is senior vice president/executive creative director at Siddall, Inc. in Richmond, Virginia. In her previous life, Hindman was an art director at Siddall and prior to joining Siddall, she served as an art director at The Martin Agency in Richmond. In all, she has spent eighteen years helping some familiar names in America look good: Wrangler, London Fog, Mercedes-Benz, Residence Inn and The Discovery Health Channel to name just a few. Along the way, Shari’s work has been recognized by Communication Arts, The New York Art Directors Club, The One Show and virtually every other major advertising awards competition. Early in her career, she was chosen by Adweek as print art director of the year in the Southeast. Shari resides in Richmond with her husband (a fine-artist) and two children (also very talented artists).
vice president/associate creative director
Crispin Porter + Bogusky
Andrew Keller is vice president/associate creative director of Miami-based Crispin Porter + Bogusky. In kindergarten, when asked to draw a picture of what he wanted to be, Keller drew a garbage man. He liked the idea of hanging off the back of a moving truck. Tests revealed he should be a flight attendant, a priest or an advertising executive. He was an English major, became an art director and is now a creative director. “I love to disrupt…to tap into the collective unconsciousness, predict behavior and then mess with people.” He launched MINI with 100 or so of the most talented and dedicated people you’d ever want to meet. He is also creative director for the Virgin Atlantic and Burger King accounts. Andrew likes to say, “The more advertising is like rock ‘n’ roll, the more I like it. And right now, it’s a lot like rock ‘n’ roll.”
Partner and creative director
Joanne Kim is partner and creative director at Marcus Thomas in Cleveland, Ohio. Kim started her career as a design major at Parson’s School of Design in New York and transferred to Kent State University’s design program. After two years of design, she realized she was better at copywriting and graduated with a BS in advertising. Her work has been recognized by the AAAAs O’Toole Awards, Communication Arts, National ADDYs and The One Show. At Marcus Thomas, she works with a variety of clients including Caterpillar, Milliken & Company, Kelly Tires, Dunlop and Libbey Glass. She belongs to the Cleveland Advertising Association and The One Club for Copy and Art in New York, and has taught advertising copywriting at Kent State University.
Executive creative director
Foote Cone & Belding
As executive creative director of Foote Cone & Belding Seattle, Mary Knight believes her job is to inspire ideas that give customers credit for having a brain. She wrote her first headline for a bank (long gone, but not because of the ad) at The Richards Group in Dallas. Over the years, she has worked on brands like American Airlines, Boeing, Tabasco, Tacoma Guitars, and everything in between. Mary’s work has been honored in numerous shows and publications. She has been a faculty member at School of Visual Concepts in Seattle, and a guest speaker for various ad clubs as well as the University of Washington’s marketing program. Mary lives on Vashon Island in Puget Sound with her husband, David, and their two perfect children, Sam and Mia.
G. Andrew Meyer
copywriter/senior vice president/executive creative director
Leo Burnett, Chicago
G. Andrew Meyer is a copywriter/senior vice president/executive creative director at Leo Burnett in Chicago, where, along with art director and all-around good guy Noel Haan, he works on Altoids, Jenn-Air, Maytag and numerous other accounts. A 1991 graduate of the University of Wisconsin-Madison, Andrew earned a living as a designer and art director before switching to copywriting at William Eisner in Milwaukee. In recent years, Andrew’s work, most notably on Altoids, has scored multiple appearances in all the major award shows, causing his trophy shelf to sag dangerously. He lives with his wife and their two boys in a civil-war-era farmhouse in Wisconsin, and owns an enormous barn that houses his dozen or so bicycles and expansive junk collection. Andrew enjoys hanging out with his family, all forms of consumer electronics and pretty much anything that has wheels.
chairman and chief creative officer
Prior to being named chairman and chief creative officer of Carmichael Lynch in 2000, Jack Supple held the positions of president, executive creative director and senior writer since joining the agency in 1979. Supple grew up on the South Side of Chicago and graduated from the University of Dayton. He began his career as a writer at smaller agencies in Chicago, South Bend and Minneapolis. It was the chance to work on Rapala lures, CL’s oldest client, that brought him to CL where he found a creative culture that would become home. His first CA published work was a Rapala ad in 1980. Other “enthusiast” accounts would follow, like Harley-Davidson, Porsche, Gibson Guitars, and the agency has grown and expanded its account list to include Northwest Airlines, A.G. Edwards and American Standard.
As co-creative director of Wieden+Kennedy New York, Todd Waterbury oversees the office’s accounts that include ESPN, Nike, Brand Jordan, U.S. Trust, Gore-Tex and Sharp. Waterbury came to W+K more than ten years ago after working as a graphic designer for The Duffy Design Group and Bloomingdales. He was drawn to the agency’s restlessness with titles and boundaries. His interests in design, architecture and film found a voice on a larger stage, furthering his view that there is life for brands beyond 30 seconds and single pages. In addition to recognition from advertising and design shows, Todd’s work is part of the permanent collections of New York’s Guggenheim, London’s Victoria & Albert Museum and the San Francisco Museum of Modern Art.