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Editor’s Column

The 4,423 submissions to this year’s annual continue the trend we’ve seen the past several years: Increases in digital and integrated campaigns and decreases in traditional print categories.
Go to Jurors Biographies

“This year there was an avalanche of digital and non-traditional entries, meaning that, as time passes, the Annual will probably look different from what we’re used to,” said juror Mark Hunter. “What won’t change is the bias toward great ideas and brilliant execution.”

“You know work is great when everyone in the room wishes they had their name on it,” said juror Linda Honan. “There was a mutual sense of envy many times over.”

“It’s very apparent that advertising’s creative community is becoming more and more adept at working in the digital realm,” juror Dave Newbold said. “There were some really surprising uses of online and social venues.”

“The digital space is exploding in lots of interesting ways, and it seems we’ve only scratched the surface of what’s possible,” said juror Steve Bassett. “One of the ideas was so engaging, consumers spent an average of over 30 minutes with the brand. That’s a real win to me.”

“I continue to be amazed by how much time some consumers are willing to spend with brand experiences,” juror Ron Sack said. “Bravo to those brands that deliver high levels of non-stop engagement.”

Not all comments were complimentary. “Given that we are in the midst of ‘The Great Digital Gold Rush’ era, I expected to see much better online advertising,” juror Roger Baldacci said. “Just doing a stunt or promotion to get Facebook likes doesn’t mean people love your brand and want to connect with it daily. I think there will be a recalibration of brands doing great work and building brand voices instead of just pandering to get Facebook likes.”

“I’m hoping, with time, there will be a resurgence of print,” juror Margaret Johnson said. “It will likely evolve and become more interactive. Print advertising is number one at influencing consumers to start a search online.”

“While there was a lot of aesthetically- pleasing, smartly-executed work, the best of the best were based on  powerful concepts.”—Dave Newbold

Other complaints? “Too much distressed type!” Honan said. “That style of typography had its heyday in the early ’90s!”

“Make case studies more interesting/meaningful and nothing over two minutes,” Bassett added.

I asked the jurors how advertising is adapting to media and demographic fragmentation and what developments will most impact its future.

“The more agile creatives are adapting,” juror Lisa Greenberg said. “They see demographic fragmentation as an opportunity.”

“The fact that we can target specific consumers in their daily lives by where they live, shop, eat and socialize is truly exciting,” Sack said.

“We’re using all the new social media platforms as best we can,” Baldacci said. “Instead of bludgeoning consumers with a massive TV buy, we’re being smarter and more efficient with our dwindling marketing dollars.”

“Smaller budgets require smarter creative solutions,” Greenberg added.

“Pinterest is definitely the biggest marketing-tech story of the year,” Johnson said. “Pinboards are driving an unbelievable amount of traffic to retailers. To reach these people, agencies will quickly start to incorporate Pinterest into their digital campaigns.”

“Obviously the biggest change facing us is the proliferation of screens,” Hunter said. “The process of helping brands find ways to be on those screens as often as possible can be a bit mind-boggling. But as this media revolution matures we are seeing that the media is still not yet the message. It only works if it’s built around a sound, relevant idea that is enjoyable to consume.

“Overall, a really strong showing of work in many mediums.”
—Lisa Greenberg

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 broadcast, projected images or integrated campaigns. 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 53rd annual exhibition. —Patrick Coyne ca

Jurors Biographies
Roger Baldacci
Executive Creative Director
At the time of the judging, Roger Baldacci was executive vice president, executive creative director and group creative director at Arnold, Boston. Prior to twelve years at Arnold, Baldacci worked at Fallon in Minneapolis. He's been fortunate to help build great brands like Carnival Cruise Line, ESPN, McDonalds, BMW, VW, Miller Lite, Timberland, Nikon, Converse and truth.
Steve Bassett
Group Creative Director
The Martin Agency
Steve Bassett worked at McKinney & Silver, Chiat-Day, and DDB before becoming a group creative director at The Martin Agency in Richmond. Named Richmond Ad Person of the Year, Bassett has worked on North Carolina Tourism, Piedmont Airlines, Norwegian Caribbean Lines, Nissan, JC Penny, Tabasco and GEICO, and has served as an adjunct professor at the VCU Brandcenter.
Lisa Greenberg
Vice President, Head of Art/Creative Director
Leo Burnett Worldwide
Lisa Greenberg is vice president, head of art/creative director at Leo Burnett Worldwide in Toronto. Prior to joining Burnett in 2010, Greenberg worked at Toronto-based Gee Jeffery & Partners where she was creative director, advertising and design. The recipient of numerous creative awards, she is the first and only Canadian to bring home a Cannes Gold Lion for Design.
Linda Honan
Executive Vice President, Senior Creative Director
Linda Honan is executive vice president, senior creative director and a member of the board of directors at BBDO NY. Honan currently heads up a group working on Starbucks, the American Red Cross, Empire State Development, Dove and more. She's been a recipient of BBDO's coveted Phil Dusenberry Award for Creativity and, just like most Aussies, she takes every opportunity she can to travel the world.
Mark Hunter
Chief Creative Officer
Deutsch LA
Mark Hunter has been chief creative officer at Deutsch LA since January 2011. He began his career as a copywriter at Harrod & Mirlin, Toronto. In 1999, Hunter moved to Europe where he spent five years at BBH London and three years at Wieden+Kennedy, Amsterdam, before returning to London as executive creative director at Euro RSCG and TBWA\London.
Ron W. Sack
Creative Director
Bailey Lauerman
Ron W. Sack is a creative director with Bailey Lauerman in Omaha. A graduate of the University of Nebraska at Kearney, Ron's contributions to Cargill, Union Pacific, TD Ameritrade, ConAgra Foods and other major clients consistently garner accolades for the agency. Sack's work is also in the permanent collection of the Museum of Decorative Arts in Hamburg, Germany and the AIGA 365 National Design Archives, housed at the Denver Art Museum
Margaret Johnson
Executive Creative Director/Partner
Goodby Silverstein & Partners
Margaret Johnson is executive creative director, partner at Goodby Silverstein & Partners in San Francisco. A sixteen-year veteran of the agency, her first job was freelancing for Leonard, Monahan, Lubars & Kelly in Providence. She then worked at The Richards Group in Dallas. In 2008 she produced and directed Dunkumentary, which was featured in the Short Film Corner at Cannes.
Dave Newbold
President/Executive Creative Director
Dave Newbold is president and executive creative director of Richter7 in Salt Lake City. His preference for the Utah lifestyle solidified while earning a BS in advertising from Brigham Young University. A dogged determination to do national quality advertising in a small market locale has resulted in honors from Communication Arts, the Clios, the Emmys, the New York Art Director's Club and the One Show.

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