FedEx

This FedEx campaign was done by Leo Valadão (AD) and Luciana Elaiuy (CW) of Universidade Federal De Minas Gerais in São Paulo. It brings up the age old issue of play on words. Where and how does it fare here? Here's an example of a similar executional style done by Patrick Stewart (AD) and Heather Sullard (CW) of Brainco in Minneapolis.

Is one more sucessful than the other? If so why? What are your thoughts on wordplay in an industry where there are rules, and then there are none.

Mercades AMG

Who said you can't put auto in your book? This headline for the Mercades AMG was done by Isaac Pagan (AD) of Miami Ad School and an whose name I will post when I find it out. Thoughts on the headline and its art direction?

Bayer Apsrin

This Bayer Asprin :60 was done by Jonas Mayabb (AD) and Jeff Butcher (Cinemotagrapher) of the Art Center College of Design Pasedena. Impressive as student work, it took a bronze at the 2007 Clios.

HoneyShed

Droga 5's, HoneyShed (beta)is here. Read here for more information. In a marketing age where more and more things are becoming interactive, real time and integrated, what does it mean to students trying to get into the "game?"

Will we start seeing the devaluing of classical creatives (including probably most all of us)--and more people in the bidness about transforming the possibilities of media? Your thoughts.

Brasillian Blues

Long copy--important for writers and art directors, they say. Show you can write, show you can handle lots of type. These Bush Harmonica ads were done by Raquel Salaro (AD), and Bruce Stern (CW) of The Creative Circus. Thoughts on the art direction and writing.

TiVo, Again...Really?

This TiVo outdoor was part of a campaign done by Derek Till (AD) and John Neerland (CW) of Brainco in 2001. It won Gold at the Minneapolis Show.

The TiVo ad on the left, by Adolfo Alcala (CW/AD) and Ozan Aslan (AD) of the Academy of Art University, was part of a campaign that won silver at the 2007 International Andy's. The one on the right, by Moyeenul Alam(AD) and Lucas Napolitano(CW) of Miami Ad School in Miami Beach, also won silver at the 2006 International Andy Awards. These aren't the only ones we've seen.

I don't think there is anything wrong with any of these executions. They're quick, concise and highly functioning. But can we please stop doing TiVo ads? How do they keep winning awards?

Child's Play

This L'Oreal Kids headline campaign was done by Barb Eztkorn (AD) and Theresa LaGuardia (CW) of Brainco. We don't see a whole lot of kids stuff--or good kids stuff. Is the key to create a message thats directed more at parents? And how successful are these headlines working in this difficult product category?

Logo Channel

This Logo Channel ambient piece was done by Parivaz Alloo (AD) of the Academy of Art University in San Francisco. The tag reads: "Television for Gays and Lesbians."

Lessons from a Genius

(Note, in using the term genius I am referring to a definition posted on Advertising for Peanuts a couple weeks ago.)

This isn't necessarily a post about advertising per se--but it is a post about great writing, particularly writing great dialogue. And that's worth significantly more than a dime a dozen (but probably less than their weight in gold). Here's an excerpt from David Milch, writer/creator of Deadwood and John from Cincinnati:

Dialog Step

Perhaps the most important aspect of writing truly great television (and naturally something I've always been good at) is coming up with dialog that just barely resembles what each character is trying to say. When people have to work to understand what the hell is going on, they presume (correctly!) that they must be watching fine art.

I could explain this, but I'm not that good of a writer so I'll just show you through an example. Casey does not want a drink that his friend Adam is offering, but he does want to use his phone.

Adam: Want a drink?
Casey: No thanks. Mind if I use your phone, though? It's a local call. I'll make it quick.

That's horrible. Now let's punch it up by making that exchange harder to follow.

Adam: As I would offer to others who were in my house if they were here and desired it, what say you to a serving of this not-air not-earth not-fire element?
Casey: If I were to answer you in the positive I would be the embodiment of the title of that Henry Rollins Band hit from the mid-90's, and half the embodiment of the title of that Jim Carrey lawyer movie. How much of a strain on our friendship would it be if instead I asked for a rendezvous with one of your appliances which I hold close to my head and stimulate with my mouth?

Better. Not quite there yet, but better. As I learned from Deadwood, cursing is the ultimate hot sauce. It goes great with everything. Let's revise the exchange accordingly.

Adam: As I'd fucking just as soon offer it to others, I'm telling you that a glass of that liquid pleasure can pass between your cocksucking lips if you indicate in the affirmatory.
Casey: Much as I appreciate your gesture of motherfucking kindness, I'd like to communicate with another cocksucker via your telephonic voice relay device.

Now we apply the lessons learned from John From Cincinnati. Anger, insanity, mystery.

Adam: (to a chair) I'd offer it to him, but I doubt he'd... no, no. You're right. (long shot of the chair, with the camera slowly zooming in) Hey, you shitbird! Why don't you partake in this once in a lifetime offer of what some who appreciate potables might accept gladly?
Casey: (pushes Adam onto the ground and pulls out a gun) This is the cocksucking end. I wanted to ask of you a question that would possibly lead me to using your receiver and dialing pad but the device communicated with me directly from across the room vis-a-vis my left and right hemisphere. It told me... (an old scar on his cheek vanishes) These things cannot be undone unless we have fucking started them. All is Babylon.

Asprin

This billboard campaign for Asprin was done by Jan Lohse (AD) and Patrick Duver (CW) from Miami Ad School in Hamburg.

Norton

These ads for Norton System Works were done by Stella Geurtsen and Kris Spape at the Junior Academy for Art Direction in Amsterdam. To me, its an example of a smart visual solution--not a exaggerated benefit (a favorite of the Brasillians).

Thoughts on the significance of the visual solution today, both in the industry and in student work. Is the increase in visually-driven work winning awards both domestically and internationally the effect of:

• Globalism, as ideas today are so readily and instantly communicated without regard to physical distance?
  
• A result of continually declining intellectual capital throughout culture?
• A new age in marketing, where the success of creative endevors in marketing can not be measured inside the box of traditional media--but in its potential to become something far more than just "advertising"?
• Something else?

All thoughts welcomed and appreciated. More consistent posting will likely ensue. And please, send us your work/thoughts/ideas: portfolioparty@gmail.com