As a direct reflection of the economy, entries were down for this year’s Advertising Annual and, like last year, the biggest decline was in traditional print and TV and the biggest growth was in online and integrated campaigns. To put it in perspective, the latter two categories only represent about 10 percent of the entries in a competition still dominated by print.
“The highlight of the Annual is always the print work and I was not disappointed,” said juror Judy John. “People continue to find fresh, new solutions.” “Public service print was the strongest category,” said juror Sonya Grewal, “it had the best ideas, which is not surprising since most of the work probably didn’t go through focus groups.” “A lot of the World Wildlife Fund advertising was new to me,” added juror Tony Calcao. “Some of it was so good, I wanted to change my profession.”
“I saw some very nice work in categories not known for gathering awards: toothpaste, stain removers, dog food, pens and highlighters,” said juror Randy Snow. “I was pleasantly surprised to reconfirm that great ideas can come in any product category.”
“No matter what form a piece of work takes, a simple, clear, interesting idea executed perfectly is still the right answer,” said juror Jim Nelson. “The Diamond Shreddies campaign (page 64) is a great example. No matter the medium, I get it instantly and I like it. Stuff that took longer to engage didn’t break through.” Grewal agreed on the need for a simple idea but added, “I saw a lot of well-executed work with no concept.”
Other trends the jurors don’t want to see again? “I really don’t need to see any more parodies of home shopping channels or personal injury attorney ads,” Snow said. “And I’m near my limit on talking animals and talking babies.”
“You can stick a logo anywhere for a price, that basic premise will never change.”—Sonya Grewal
“The ideas involving lamp posts, parking meters, park benches, sidewalk cracks, elevator buttons, trash cans, parked cars, windows, bathroom mirrors (especially bathroom mirrors), etc., that used to seem interesting now seem like standard student-level, award-show trickery,” Nelson said. “I’m not saying don’t do it, but if it’s going to break through it really has to be special.”
Another common disappointment for the jurors was radio. “It’s because so little of it is done well. Clients tend to want to get very tactical with it,” John said. “As good as Bud Light’s Real Men of Genius campaign is—and it is very good—I’m amazed that, after all these years, it’s still so far ahead of just about everything else,” said Snow. “I’ve told the creative department at my agency that there’s a great award-winning opportunity to do outstanding radio.”
When asked about the future of advertising, the general consensus is that the idea is still paramount, regardless of the medium. “The best advertising ideas are big enough that they work across a multitude of media vehicles,” juror Lisa Bennett said. “In the best examples, advertising is adapting to the changes in media and demographic fragmentation by exploiting them,” Nelson said. “We have opportunities now to engage with people in ways that weren’t available before, and to make things we couldn’t make even three or four years ago.”
“Advertising has a history of adapting,” Grewal concluded. “It’s definition is getting broader and its potential greater.”
As in previous years, we employed a two-step jurying system, screening and finals. Due to increasing time constraints, the judges screened much of the radio commercials and online advertising in their own offices prior to arriving in Menlo Park.
“Consumers are the new media. We as marketers have to search for unique ways to include our brands in their conversations.”—Lisa Bennett
In our office, they 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.
I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 49th annual exhibition. —Patrick Coyne ca
chief creative officer, managing partner
DDB San Francisco
Lisa Bennett is chief creative officer, managing partner of DDB San Francisco. She joined DDB in 2003 and was challenged with putting the San Francisco office on the map creatively. Since her arrival, Bennett has brought new energy, focus and recognition to the agency’s creative product. The agency won its first Cannes Lion and has been recognized in just about every major award show. Raising the creative bar has helped Bennett attract a lot of talented, fun people to the agency. After graduation from the University of Texas at Austin, Bennett started at Leo Burnett as an associate art director and rose quickly through the ranks. Throughout her career she has received numerous creative awards including Cannes, Clios, Communication Arts, Stephen E. Kelley Finalist and the New York Film Festival Gold.
vice president and creative director
Crispin Porter + Bogusky,
Tony Calcao has been with Crispin Porter + Bogusky for fourteen years. As vice president and creative director, he leads the teams behind Volkswagen. He was instrumental in launching CP+B’s “Truth” and MINI campaigns and created ads for Burger King, Giro, Shimano, Schwinn, Molson and Virgin Atlantic. Calcao is an enthusiastic leader and perennial award winner, receiving top honors from Andy, Cannes, Clio, D&AD, Kelly, The One Show, and featured in Archive, Communication Arts Annuals and many popular books on advertising. In college, Calcao played baseball for the University of Miami and aspired to play major league ball. He chose advertising instead and has since acquired a following of creative admirers, but his biggest fans are his daughter Chiara and son Caden.
vice president/creative director
Sonya Grewal is a vice president/creative director at Y&R Chicago. Currently she leads creative for Hilton Hotels, MGD 64 Beer and Doubletree Hotels. She has also worked on Miller Lite, Kenmore, Corona, Orbitz, Moen Faucets and Found magazine. Her work has been recognized by the Art Directors Club, Communication Arts, the London International Awards, the New York Festival and The One Show. A globalist with a penchant for international advertising trends, Grewal was born in England and lived most of her life in India, where she began her career as an art director at JWT New Delhi. She moved to Chicago eleven years ago landing at Cramer-Krasselt and then Ogilvy. Two of her most prized possessions are her passport and her Leica camera. A recent trip to Rwanda lived up to her challenge to find places that are Internet unfriendly and cell -phone towerless
vice chairman and chief creative officer
Marcus Kemp is vice chairman and chief creative officer of BBDO Atlanta. Kemp was appointed to the newly created position in January, 2005. The goal of bringing Kemp on board was to make BBDO Atlanta a more significant contributor to BBDO’s overall North America business according to BBDO Atlanta president and CEO Chris Hall. Kemp joined the agency from Euro RSCG where he was worldwide creative director on Intel and a managing director. Earlier in his career, Kemp worked at NW Ayer Chicago, Chiat\Day Seattle, Ammirati Puris, keye/donna/pearlstein and Hal Riney & Partners. He has won virtually every major industry award including The Award of Excellence from Communication Arts, the Gold Lions at Cannes, Clios and One Show Pencils.
co-founder/chief creative officer
Ari Merkin is co-founder/chief creative officer of Toy New York and likes advertising a lot more than he should. At Crispin Porter + Bogusky, he was writer on Truth’s “Body Bags” campaign, IKEA’s “Lamp” spot and the launch of the MINI. As executive creative director of Fallon New York, he led the agency with work on Star-bucks Doubleshot (“Glen, Glen, Glen”), Time magazine (“Pendulum” billboard) and Virgin Mobile (“Chrismahanukwanzakah!”). At Toy, he created OfficeMax’s ElfYourself.com and “Sooo Relaxed” for Extended Stay Hotels. His award chest includes the Cannes Grand Prix, The One Show’s Best in Show, the Grand Clio and Communication Arts. Merkin has been a favorite on creative Top Ten lists and was recently one of Ad Age’s 40 under forty. When he’s not work-ing, well, he’s still working.¬¬
executive creative director
Jim Nelson, executive creative director, a sixteen-year veteran of Carmichael Lynch in Minneapolis, Minnesota, has made a name for himself in the industry developing award-winning work for such clients as Harley-Davidson, Jack Links Beef Jerky, Coca-Cola, AG Edwards, Sierra Nevada Beer, Porsche, Rapala, Chris-Craft, First Alert, Tractor Supply Company, Gibson Guitars and many others. He has collected much hardware along the way, including Gold Cannes Lions, countless Stephen E. Kelly finalists and is seen regularly in Communication Arts Annuals and The One Show books. Nelson is a graduate of St. Cloud State University with a degree in journalism/marketing. His current ride is a 2008 Harley-Davidson Softail Night Train with Stage 1 air intake, Power Commander performance chip, Vance & Hines 2 into 1 Pro Pipe exhaust, Fat Boy leather tool-box, black powder coated engine guard, Evo style air cleaner cover and chrome oil temperature gauge. It is not for sale.
corporate creative director
R&R Advertising Agency
Randy Snow, corporate creative director of R&R Advertising Agency in Las Vegas, is one of the few people he’s ever met who’s actually doing what he said he wanted to be doing when he was a kid and, even more rare, he’s been able to carve out a career in the ad busi-ness without having to leave his home state of Nevada. After receiving a journalism degree in 1976 from the University of Nevada at Reno, he took a job with a four-man agency in Reno. In 1980, he joined the Baker Group as an account executive and writer. In 1985 he joined DRGM in Reno as an asso
managing partner, chief creative officer
Leo Burnett, Toronto
Judy John is managing partner, chief creative officer at Leo Burnett, Toronto, Canada. Three years into the business, John was Canada’s top copywriter according to Strategy Magazine’s cre-ative report card. Her agency experience ranges from small independent shops (TAXI and Roche Macaulay & Partners) to large multi-nationals (Chiat\Day, BBDO and Ogilvy & Mather) to running her own com-pany (Guerrilla TV). John joined Leo Burnett Toronto in 1999, as chief creative officer. Under her direction, the agency has won virtually every national and global award, including the first ever D&AD Black Pencil for a Canadian agency—and also the first for the digital category. When John isn’t working, she can some-times be found working at her daughter’s lemonade stand.