“I saw surprising and inventive ideas even in the most traditional channels of television, newspaper and point of purchase,” says juror Rob Baird. “It hasn’t all been done yet!”
“I was surprised at how much student work is still in traditional forms,” juror Kara Goodrich says. “You can sense the struggle by young creatives, who are good at their craft, to showcase their ability with new versus traditional media. I couldn’t help but think how little the skills of headline writing and on-paper art direction are called upon now.”
“Communication Arts always delivers iconic poster, print and TV ideas, and there were lots of those, but there were also killer non-traditional, digital and integrated campaigns,” says juror Linda Knight.
“There were many things that seemed to defy categorization, leaving us to ask ourselves, is that advertising or something else?” Goodrich says. “Sometimes the ideas seemed bigger than advertising.”
“It was great to remind myself of the historical importance that Communication Arts has had on advertising and design worldwide,” says juror Carlos Moreno.
Along with the praise, there came a fair amount of criticism of the form and content of the work that was submitted.
“I was disappointed that there wasn’t more print and poster work to consider,” Baird says. “Even though we constantly hear ‘print is dead,’ any trip to a bookstore or urban magazine shop shows how many titles are still alive and well, and full of ads.”
“I was amazed that many who enter don’t look realistically at the quality of what wins with an honest look at their own entry,” says juror Karin Onsager-Birch. “It’s hard to win. You need to study past winners and be aware of the quality of work you’ll be competing with.”
“Culturally and socially, the advertising industry is not preparing for a minority-majority consumer base,” juror Lewis Williams says. “Consumers are demanding that brands become more responsible for making the world a better place. No longer can a brand have just a transactional relationship with its customers. Brands need to fit into their lives as well as their beliefs, morals and culture.”
I asked the jurors how advertising is adapting to the changes in media consumption.
“Work is becoming more targeted and more social,” says Knight. “One size doesn’t fit all anymore. The entries reflected that with lots of great ideas in the non-traditional space.”
“Clients are realizing that in order for their media budgets to go further, there has to be just as much in it for the viewer as for the marketer,” Onsager-Birch says. “So, ads are getting more entertaining or meaningful for the consumer, as opposed to just hammering out product descriptions.”
“Digital native creatives entering the industry, along with established creatives, are beginning to become more comfortable in under-standing and embracing new platforms,” says Williams. “It gives them the ability to connect one-on-one with consumers in ways they never imagined.”
Lastly, I asked how the changes in media and culture will alter the role of advertising in the future.
“We’re all being forced into a period of reinvention as an industry—agencies and clients alike,” Baird says. “It feels like more than ever, you have to have big, smart, extendable ideas in order to reach all your targeted audiences.”
“I do think there will be an investment by brands into longer-lasting platforms moving forward,” says Moreno.
“The continued push into one-to-one advertising using data is also going to be changing things quickly,” Onsager-Birch says.
“The industry is already evolving,” says Knight, “I believe ads will continue to become less interruptive and lean more into being entertainment in their own right or a tool to help people.”
Selection for this year’s Advertising Annual required a minimum of four out of six votes. When judges’ pieces were in the finals, editor Jean Coyne or I voted in their stead. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 60th Advertising Annual. —Patrick Coyne ca
Rob Baird is chief creative officer of Preacher, the Austin, Texas–based agency he cofounded with Seth Gaffney and Krystle Loyland in 2014. Prior to Preacher, Baird spent almost a decade in the New York and London offices of Mother, leading award-winning creative for Coca-Cola, Stella Artois and Virgin Mobile. Prior to Mother, Baird held creative positions at Arnold Worldwide, Bartle Bogle Hegarty NY, Fallon and TBWA\Worldwide. He has been lucky enough to have his work featured in every major advertising award show over the years, and occasionally has been mentioned in his family’s annual holiday letter.
Kara Goodrich is a senior creative director at BBDO NY. Goodrich got her first break in the business when she was hired at Leonard, Monahan, Lubars and Kelly in Providence, Rhode Island. She spent six years there under David Lubars and David Baldwin, where she racked up awards for clients such as Bauer, Keds and Polaroid. Since then, she has worked at a constellation of agencies, including Arnold Worldwide, Euro RSCG, Fallon and Mullen. During her 30-plus year career, she has become one of the most awarded writers in the business, and currently serves on the board of the One Club.
Linda Knight is chief creative officer at Los Angeles, California–based Phenomenon. Previously, she spent three years as executive creative director at TBWA\Chiat\Day LA. Born in Australia, Knight was one of the first international hires made by Wieden+Kennedy and spent almost
a decade working in the agency’s Portland and Amsterdam offices. Knight has won major creative and effectiveness awards; completed the “sports trifecta” of campaigns, for the Super Bowl, the Olympics and the World Cup; and was on the 2017 Business Insider list of the 30 most creative women in advertising.
Carlos Moreno, along with Peter Ignazi, is global co–chief creative officer of Cossette, overseeing six offices throughout Canada. Under their leadership, Cossette was named Canadian agency of the year by Strategy magazine in 2016, 2017 and 2018. A native of Guatemala, Moreno was named one of the most influential Hispanics in Canada by the Toronto Hispanic Chamber of Commerce. He has worked as an art director and creative director in Toronto and New York for such agencies as Amalgamated, BBDO Canada and MacLaren McCann, and was twice included in the top ten list globally by the Gunn Report.
Karin Onsager-Birch joined FCB West as chief creative officer in 2015 as part of a team that has completely rebuilt that office in three years, culminating with the creation of one of YouTube’s top ten most-viewed ads in 2017, along with wins at Cannes, D&AD and the One Show. Previously, Onsager-Birch oversaw the Pan-European Ford account for Blue Hive Ogilvy as executive creative director, and before that, she spent seventeen years at Goodby, Silverstein & Partners, creating award-winning work for many iconic brands, including eBay, Häagen-Dazs, Hyundai, Kayak.com, Nike, Nintendo Wii and Porsche.
Lewis Williams is chief creative officer of Chicago, Illinois–based Burrell. A creative leader with extensive experience in total and multicultural marketing, Williams spent much of his career at Leo Burnett Chicago, and has worked for iconic brands such as Allstate, American Airlines, Budweiser, Walt Disney World, Google, Hallmark, McDonald’s, Miller Lite, Toyota, Verizon and Walmart. Recognized as one of Adweek’s Creative 100, Williams is also a distinguished alumnus of the Kent State University School of Visual Communication Design, where he established the Lewis and Dona Williams Endowed Scholarship.