W hy did we choose a dog for our logo in the first place? Well, dogs are nice. Much nicer than human beings. More consistent. More loyal. They listen better. Research shows you live longer if you have a dog. When you come home after a terrible day, dogs wag their tails, happy to see you. How many spouses do the same? Ca- nines know instinctively when you’re down and they try very hard to lick your worries away. Rub a dog’s soft ear, then rub a human ear and see the romantic difference (in the dogs’s favor). Dogs work for us and demand very little salary. A little dry kibble and a squeaky toy, that’s about it. They keep you very warm at night and keep one eye open for the burglar at the same time. They’ll even do our dirty work like sniffing out a terrorist’s bomb. They’ll search for lost skiers or even lost souls in the worst kind of tragedy. They’re eyes for us when we’re blind. They can even fetch milk from the fridge if we’re paralyzed. Dogs will do whatever we ask, whenever. Yet, the truth is, we have so much to learn from them. Above all, they really know how to play. Something we’ve forgotten long ago. Life, for a dog, is fun. Just smelling life makes their juices flow. Waking up in the morning is an incredible experience for a dog. It’s being alive! Is it any wonder there are so many dogs in advertising? (Want to win an advertising award? Just put a dog in the ad.) Advertising legend Lee Clow brings his big German Shepherd to work. Everyone else at TBWA/Chiat/Day is welcome to bring their dogs, too even the interns. (Thankfully, Lee was out of the office the day a Miami Ad School intern’s dog pooped in his office. Lee still doesn’t know so don’t tell.) Crispin Porter + Bogusky’s move into new office space was conditional on the owner of the building making an exception to their “no dog” policy. The official lease reads, “No dogs allowed except for the Chairman’s dog, Suzy”. Now all the dogs that come to the agency are named “Suzy” and belong to the agency’s Chairman, Chuck Porter. You’ll find dogs working at agencies all over the world: StrawberryFrog, Jung von Matt, Goodby Silverstein & Partners, Scholz & Friends, Butler Shine & Stern, Buder Engel & Friends, Carmichael Lynch, Wieden & Kennedy, KesselsKramer, Lowe Brindfors, and BBDO. Students and teachers bring their dogs to Miami Ad School, too. We use the dogs to select our students. If a prospective student comes to the school and shows fear or disrespect to the pup at the door, we advise the prospect of another school. We know that person isn’t cut out for ad- vertising and probably hasn’t a creative bone in his body. Dogs make our educational environment far more creative. Smudge, a Chocolate Labrador Retriever and the official school mascot, wanders in and out of classrooms, sits on the sofa and listens. And he hasn’t farted during a critique in two years. “Smudge,” poster dog for the Top “Smudge ,” w Dog icon and Official School Dog. founder of ith Ron Seichrist, Miami A co- a critique d of soccer School, during posters. i Miam lD og at Schoo fficial d. té,” O ri “Salu hool Mad Ad ScOliver Voss, ECD of JungAd School Eu v. M rope (Hambu att and co-director of Miamdog, “Trixie.” rg) with the fer ocious school i guard iously inal School Dog, obv “Applesauce,” orig t behind the ear.” thinking, “That’s the spot, righ TIP NUMBER 1: GET A DOG 2
O n the following pages you will see award-winning work from Miami Ad School students. Our students have won more international awards than any other school in the world. For several years in a row they’ve won the Grand Prize or Gold Award at the International Andys, Clios,Athenas and Young Guns. This past year Miami Ad School students won the Gold and Silver One Showawards. Students also regularly have their work showcased in international magazines including: CMYK,HOW, Archive and Graphis. Even while interning in agencies Miami Ad School students have won pro-fessional awards. Five of Leagas Delaney’s winning campaigns in the One Show Awards were created bya Miami Ad School student intern. (Not surprisingly, this student was also named advertising student ofthe year in Germany and Holland.) Two of the Cannes Lions won by Leo Burnett, Prague were created byMiami Ad School students who were interning there. Another team that was interning at DDB, Chicagoconcepted and sold the first ever global TV commercial for McDonald’s. The students missed their gradu-ation ceremony because they were in Sydney, Australia shooting the spot. DDB hired the team and withina year the Miami Ad School grads had finished their next TV commercial. The spot, for Bud Light, aired onthe Superbowl and was named best Superbowl spot by USA Today. However proud we are, the purpose of this brochure is not to beat our chest. Instead we want tomake this publication useful to young people who may be considering a career in the advertising or designbusiness. So, wherever we can we’ll offer insights into how an ad was done, perhaps details about the strat-egy or comments on the execution. We’ve asked some of the leading creative directors around the worldto comment on the students’ campaigns. Some of these CDs teach at one of our locations or invite MiamiAd School students to intern at their agencies. Others have hired our graduates, but all have years of experi-ence in mentoring. They are very free and open about their approach to creativity. Actually, there are nosecrets in this business. The great work is done by the risk-takers. They see the world differently and havethe courage to show what they have seen. Often it’s a simple thing. Something that everyone sees every dayand walks by without noticing. Can this kind of creativity be taught? Well, you have to be a creative personin the first place. But a good teacher can peel away layers and years of crap, leaving the student ‘raw & ready.’Sometimes a gentle nudge will do wonders. Sometimes a big kick in the...
S implicity. KISS. Keep it simple, stupid. The visual solution, thank you. Who has time to read? Who does read, anymore? Just clear, to-the-point communication. Life is short, as it is. Besides, if you want to know prod-ucts and benefits, go to the internet and read all about it. But, for print ads,let’s make it simple. Powerful images with lasting impact. Close-ups. Evencloser. Try to make it funny. Outrageous. Over-the-edge. Remarkably, theone-two punch of the camera and the computer has given the students toolsso professional, student work can be as professional as the professional. Andif the professional was born before 1973, his work will be sloppy comparedto today’s kid who grew up with Sony Playstation and XBox. It’s all visualthese days. If there is a headline, usually the type size requires a magnifyingglass. No body copy whatsoever. Mostly, there’s just a tagline. But the photosand illustrations in the ads are magnificent. Mouth-watering, hair-curling andgroin-tickling. In such an environment we give the following advice to ourart direction students. Shun stock photographs whenever possible. Fall inlove with the camera. Learn all you can about photographic lighting. Studythe great masters of photography. But haunt all the art galleries as well. Takeup “tagging” or whatever it’s called today. Collect hand-made signs. Take aplay-doh class with 2nd grade kids. Take up taxidermy; maybe you’ll put to-gether a bull-frog band for a music campaign. Enroll in a Japanese calligra-phy course. Collect hand-carved tombstones. Go to a flea market and collectNinja Turtle stuff. Ask your grandmother for her old photographs. Talk yourgrandfather out of his early pornography. In other words, collect solutionsnow for problems you’re going to have some day in the future. Become onegiant reservoir of useless, but interesting trivia. TIP NUMBER 2: SIMPLICITY WITH VISUAL IMPACT
Award: Cannes Lion Silver, Addy Gold, selected to run in Archive magazineArt Director: Hunter FineCopywriter: Jennifer RobisonInstructor: Basil Mina, CD, Leo BurnettSchool location: Miami Ad School PragueAfter graduation: Hunter was hired at Cliff Freeman, New York. “Jen Hunter represent the best of what Miami Ad School does. They’re mature beyond their years. They spent their time in Prague as valued interns (at Leo Burnett) rather than tourists. I’m a huge admirer of the School, particularly their international perspective - it takes students off campus pulls their head out of the Award Show annuals. At the end of the day, our whole industry is going to benefit from that. This brief for the Museum of Torture was a lot tougher than it looks. The inherent drama in the brand leads you down some pretty strange paths. You tread a fine line between “Olde World” Medieval Kitsch some pretty sick shit. To be quite frank, I expected these two to stumble but they churned through tens of campaigns—some very good—before ending up here. I think the campaign is intel- ligent and provocative, but I guess I like it most of all because it manages to use the phrase “rectal plough” without causing undue offense.” Basil Mina is Regional Creative Director of Leo Burnett Europe, Middle East and Africa. He currently lives in Paris, having lived and worked in Cape Town, Toronto, Hong Kong, Chicago, Johannesburg and Prague.
Award: Australian Young Guns Best Of Show, Graphis Magazine Art Director/Copywriter: Danny Noval, Angela Finney School location: Miami Ad School London Instructor: Ron Seichrist, Founder of Miami Ad School After graduation: Danny was hired by Young Rubicam, New York. Angela was hired by BBDO, Chicago. ____________ Award: Student Advertising Young Gun Of The Year, Australian Young Guns Competition Gold, Andy finalist Art Director/Copywriter: Satoko Takada, Patwin Lawrence School location: Miami Ad School Minneapolis Instructor: Melissa Johnson, Carmichael Lynch After graduation: Satoko was hired by Leo Burnett, Tokyo.“The student category at the Young Guns Competition was a privilege to judge and the work was exceptional. I would go so far as to say that it was as good, and on par with the bulk of the rest of the work (in the professional division), which is very encouraging for the industry.The jury quickly arrived at three Golds. The first Gold went to Kodak for a beautiful execution called “Baby”. It makes you realize that this is probably the most important photograph parentswill ever take, so who but Kodak would they entrust to preserve the moment forever. The ad displays a maturity and intelligence you so rarely see in student work today. It emotionally touchesyou in a way that is so right for the Kodak brand. It was created by Danny Noval and Angela Finney at Miami Ad School....Another student team from Miami Ad School, Satoka Takada and Patwin Lawrence, also won a Gold, this time for a Bazooka Bubble Gum campaign that visually dramatized the aftermath of an exploding Bazooka bubble. Again the work broke the mold.” Mark Tutssel is Deputy Chief Creative Officer, Leo Burnett Worldwide. 6
Awards: One Show Bronze After graduation: Monica was hired at Ogilvy Mather, New York. Award: Clio Gold, Andy commendationArt Director: Monica Escobar Gaston was hired by Lapiz, Chicago. Art Directors: Hunter Fine, Brandon MugarCopywriter: Gaston Gorali Copywriter: Nathan FrankSchool location: Miami Ad School Minneapolis School location: Miami Ad School San Francisco Instructor: Matt Elhardt, Goodby Silverstein Partners After graduation: Hunter and Nathan were hired at Cliff Freeman, New York. Brandon was hired by TBWA/Chiat/Day, San Francisco. “What do I like about this work? It’s visual. It’s tasteful. It communicates quickly. And it’s simple, simple, simple. In most advertising, less is definitely more, and Monica knew that intuitively. And to the question of what makes a young creative successful––that’s easy. Success comes from having an insatiable curiosity; showing the willingness to learn; putting the brand first and your ego second; maturity; and knowing there are more ideas where that one came from. If young creatives need inspiration, they should look everywhere: museums, comedy clubs, the subway, the dinner table. The more you know, the more you can draw from.” Josh Tavlin is Senior Partner, Creative Director of Ogilvy in New York. He’s created global campaigns for American Express and IBM. And currently head up with my partner, Joe Johnson: Delta, Miller, American Express, SAP, Kraft and Hershey’s. Working at a big agency is hard, but incredibly rewarding. If you can crack marketing problems for Fortune 500 clients, you can do anything. *Note from the President of Miami Ad School, Pippa Seichrist, about the campaign above: “Monica and Gaston created this work in 1999, long before Microsoft started using the same executional technique, white lines superimposed over a current photo. I’m not implying the ad agency creatives who produced the Microsoft work saw Monica and Gaston’s campaign prior to doing theirs. Frequently students are perceived as not having the same business sense to create big brand ideas, but Monica and Gaston did obviously. And their idea was so good that a big brand thought of it too.” 7
Instructor: Diego Yurkievich, Weiden KennedyAwards: Young Guns Competition finalist, selected for Graphis book for New TalentArt Director/Copywriter: Kevin Koller, Tushar Date After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami.School location: Miami Ad School Miami Tushar was hired by Leo Burnett, Chicago.Awards: Clio Gold and Addys Grand PrizeArt Director/Copywriter: Marjorieth San Martin, Jinho KimSchool location: Miami Ad School LondonAfter graduation: Jinho Kim was hired by Fallon, Singapore.Marjori eth was hired by Kolle Rebbe, Hamburg.
Awards: Young Guns Grand Prize, Clio Gold Art Directors: Tom Zukowski, Christina de la Cruz, Copywriter: Matt Burgess School location: Miami Ad School San Francisco Instructor: Eric Sorenson, Carmichael Lynch After graduation: Tom was hired by Crispin Porter + Bogusky, Miami. Christina was hired by Publicis West, Seattle. Matt was hired at Best Buy in Minneapolis.“What do I like about this PlayDoh campaign? I like the strategy. I can imagine that most of the work on this assignment had to do with imagination. Which is cool but expected and probably not very convincing because I bet pretty much everybody would agree that using PlayDoh would be good for a child’s imagination. What I like about this is that it puts a stake in the ground. It does something we always like to do and that’s pick an enemy. In this case the enemy being uninspiring toys.”Alex Bogusky is Executive Creative Director, Crispin Porter + Bogusky; Young Guns Jury Chair. Under his direction, the agency has become arguably one of theworld’s most awarded. Alex has been profiled in Luerzer’s Archive, Communication Arts, Graphis, Adweek and Creativity. His work has been featured in The New York Times, The WallStreet Journal, USA Today, Newsweek, TIME, Adweek, Brandweek, Advertising Age and Creativity as well as on national television and radio. In 2002, Alex was inducted into the AmericanAdvertising Federation’s Hall of Achievement. And, on top of all that, Alex is also Miami Ad School’s Worldwide Creative Director. 9
Award: Athena’s Best Of Show, Show South Silver Art Director: Peter Cortez, Copywriter: Chris LaRocque School location: Miami Ad School Miami After graduation: Peter was hired by CDA Advertising in New York. Chris works at O’Brien Advertising in Denver. ____________ Award: Clio Silver Art Director: Richard Ardito Copywriter: Grant Smith School location: Miami Ad School Miami Instructor: Ron Seichrist, Founder of Miami Ad School After graduation: Grant and Richard were hired as a team at Cliff Freeman, New York. Now they work for Eric Silver at BBDO, New York“When commenting on work, it’s all extremely subjective. I believe there is only one legitimate test in determining if an advertising campaign is sound. Do you say, “I wish I’d thought of that.” I did with the Weight Watchers campaign and a lot of other work in Grant and Rick’s portfolios. They were obvious hires. I think a successful portfolio needs to have a couple pieces in it that blow you away or even just one thing that is clearly “out of the box” thinking. I would rather see a fair book with a couple of outstanding things in it than a very good book where everything is “close.”There are three things I look for when assessing creatives: portfolio, personality, and a desire. They have to have a willingness to work long hours... and, most importantly, they love workingthose long hours. This is mandatory if the team is just starting out.Advice to young creatives: Study the One Show annual. Study DAD. Go back about ten years for each. Memorize every ad in there and then forget them. Do not try to replicate whathas been done. However daunting it may seem the only way to succeed, as a creative in advertising, is to carve out your own niche. After you’ve studied advertising annuals, pay equalattention to films, books, and anything that creates that elusive spark.” Eric Silver is Executive Creative Director for BBDO New York. As a writer and creative director, Eric has won every major creative award several times over, including Best of Show at the One Show twice, Best of Show at the Clios twice, the Grand Prix at Cannes, and 6 DAD pencils. He has worked at Chiat/Day, Earle Palmer Brown, Wieden Kennedy, FCB, Goodby Silverstein, Cliff Freeman and was a staff writer for The Late Show with David Letterman. 10
Award: Addy Best Of Show Art Director/Copywriter: Kevin Koller, Tushar Date School location: Miami Ad School Miami Instructor: Steve O’Connell, Crispin Porter + Bogusky After graduation: Tushar was hired by Leo Burnett, Chicago. Kevin was hired by Crispin Porter + Bogusky, Miami.“Overlooking young talent is like a football team overlooking the draft. If you miss out on the up-and-comers, you’re missing out on the future. We must hire, and even more importantly, cultivate junior talent in order to infuse the industry with the next generation of great ad makers. And as you can see with the Perrier work, the industry will be in good hands.The secret of any good ad is to stop you in your tracks and grab you by the eyeballs. These do just that. Visually, they are very striking and beautifully art directed. I like the fact that theycredit the consumer with intelligence and you have to extract the meaning of them. Given the body is 78% water, clearly H2O, or in this case H2Eau, is vital to life. I was first exposed to this art director’s partner while judging the Andy Awards. “Frog”, an ad for Baby Einstein was inspired (see page 18). It was fresh, original and unusual. It threw the rule book away. It went on to win the Student “Grand Prize”. To me the ad demonstrated a natural talent for this business, so I found out who had created it and quickly hired Daniel Hofstadter along with his partner Tushar, the creative responsible for these Perrier ads.At the end of the day, advertising thrives on the infusion of fresh blood into agencies. Similar to the Perrier ads, to me, young creatives are “vital to life”. “ Mark Tutssel is Deputy Chief Creative Officer, Leo Burnett Worldwide. He is one of the world’s most awarded creative directors, and his work has garnered every major industry award, including the prestigious Cannes Grand Prix. He oversees the creative for blue-chip clients including Kellogg’s, General Motors, McDonald’s and Procter Gamble. Prior to joining Leo Burnett USA, Mark served as Executive Creative Director of Leo Burnett London. Under his leadership the agency was the most highly awarded agency in the world in 2001. 11
Award: Clio Silver Art Directors: Rafael Donato, Lauren Sala School location: Miami Ad School San FranciscoAward: International Andys Grand PrizeArt Director/Copywriter: Jennifer Parke After graduation: Rafael was hired by Spirit Advertising, London.School location: Miami Ad School Miami Lauren was hired by Secret Weapon, Los Angeles.After graduation: Jennifer was hired by BBDO, New York. 12
Awards: Clio Gold Instructors: Bettina Olf and Timm Weber, Creative Directors, at Springer JacobyArt Director: Menno Kluin After graduation: Menno was hired by Saatchi Saatchi, NYCSchool location: Miami Ad School HamburgWhen this brochure was printed Menno was still in school. 1
Award: Clio GoldArt Director: Isabela FerrieraCopywriter: Miguel HernandezSchool location: Miami Ad School AmsterdamThe TV spot has a rugby player brushing the single tooth he has in his mouth announcing thebeginning of the rugby season. Miguel and Isabela did this spot while interning at KesselKramerin Amsterdam.After graduation: Isabela was hired by Young Rubicam, Chicago.Miguel was hired by Euro RSCG, Chicago. Awards: Graphis New Talent book Award: CMYK Magazine Art Director: Kevin Koller Art Director: Bill Montgomery Photographer: Erika Blanco Copywriter: Bridget Prophet School location: Miami Ad School Miami School location: Miami Ad School Chicago Instructor: Ron Seichrist, founder of Miami Ad School After graduation: Bill was hired by TBWA/Chiat/Day, New York. After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami. Bridget was hired by Merkley Newman Harty, New York. Erika is a freelance photographer. 1
Award: Creatividad Mexico Student Grand Prix, International Andys Runner-up After graduation: Kelly was hired by The Richards Group.Art Director: Kelly Andrews, Copywriter: Ian Graham Ian was hired by Ogilvy Mather, Los Angeles.School location: Miami Ad School MiamiAward: Selected to fun in HOW magazine Instructor: Diego YurkievichArt Director/Copywriter: Kevin Koller, Tushar Date After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami.School location: Miami Ad School Miami Tushar was hired by Leo Burnett, Chicago. 1
Award: Addy Silver After graduation: Ali was hired by Leagas Delaney, Hamburg Art Director/Copywriter: Ali Ali School location: Miami Ad School MiamiAward: Selected for Graphis magazine for outstanding young talent. After graduation: Santiago was hired by Del Rivero Messianu Instructor: MIhai Coliban, D’Arcy BucharestArt Director: Santiago Mussfeldt, Copywriter: Chad Williamson DDB, Miami. Chad was hired by King, Stockholm.School location: Miami Ad School Miami 16
Award: Athena’s Grand Prize, Addy Gold, CMYK Magazine Art Director: Kevin Koller School location: Miami Ad School Miami Instructor: Diego Yurkievich, Weiden Kennedy Award: Andy Art Director: Kevin Koller School location: Miami Ad School Miami Instructor: Kier Beard, Freelance Art Director After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami“Why did I hire Kevin Koller? Who knows? I hire people for very weird reasons. I think with Kevin it was that he had a good book and I felt he had an even better soul. Nice hair too...he’s been very prolific (since hired) and has had lots of stuff presented to clients and ultimately produced. The biggest disappointment for both of us was some really amazing IKEA TV thathe and his partner did that was very close to production but eventually died. The work was so good it actually weighed heavily on our decision to resign IKEA. And what do I think aboutadvertising education? I think in general it’s probably the best example of the old saying that you get out of it what you put into it. The teaching is in the trying. And without a lot of trying,the student will not learn. And what about Miami Ad School’s approach? Well, Ron (Seichrist) was the originator of the whole concept of a portfolio school. And the reality is today it is verydifficult to get into the creative department without a polished student portfolio. There’s just too much competition. The teachers at Miami Ad School in Miami and all across the globe areamazing and really varied in their personal approaches. I think this has a huge value for a student who will ultimately need to find their own style. And the more unique approaches you’reexposed to, the easier it is.”Alex Bogusky is Executive Creative Director, Crispin Porter + Bogusky. 17
Awards: Glen C. Smith $5000 Scholarship, Grand Prize International Andys, Clio Bronze Art Director: Rune Degett Copywriter: Dylan Berg School location: Miami Ad School Hamburg Instructors: Doerte Spengler-Ahrens and Jan Rexhausen are creative directors at Jung von Matt When this brochure was printed Rune and Dylan were still in school.1
Award: One Show Gold Art Director: Michael Bae Copywriter: Frankie Garcia School location: Miami Ad School New York Instructor: Donnell Johnson, Creative Director, Spike DDB, New York, and Miami Ad School graduate. When this brochure was printed Frankie was still in school. After graduation: Michael was hired by BBDO, New York. Frankie was hired by Mcgarrybowen, also in New York.Headline: Sun, rain, sun, rain, sun, rain, sun rain, photosynthesis, sun, rain, sun, rain, sun, rain, sun.Tagline: It’s a process. Not processed.Headline: SERVING SIZE: 1 tsp. Headline: WARNING: Our product has been tested on animals. They usually put it in their coffee.CALORIES: 15 Tagline: It’s a process. Not processed.CARBS: 4gSCIENTISTS: 0Tagline: It’s a process. Not processed. 19
Award: Glen C. Smith $5000 Scholarship, Grand Prize, International Andys Art Director: Kevin Koller, Joel Guidry Copywriter: Dan Hofstadter School location: Miami Ad School Miami Instructor: Bob Geffert, Beber Silverstein After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami and Dan and was hired by Leo Burnett, Chicago.Award: Andy, Clio Bronze Instructor: Will Roth, Grant, Scott HurleyArt Director: Svetoslav Nikolov After graduation: Roberto was hired by Goodby Silverstein Partners, San Francisco.Copywriter: Roberto Lastra Slav was hired by Publicis, New York.School location: Miami Ad School Miami 20
Posters for Gap back to school sale.Award: FIAP (South America) Silver Award: Selected for Graphis book for outstanding new talent.Art Director: Alexandre D’Albergaria, Copywriter: Rogerio Baran Art Director: Robin MilgrimSchool location: Miami Ad School São Paulo School location: Miami Ad School MiamiAfter graduation: Rogerio was hired by Lapiz, Chicago. Instructor: Ron Seichrist, Founder of Miami Ad School After graduation: Robin was hired by Saatchi Saatchi, New York. “There was no brief, no assignment. Rogerio and Alexandre had read the sad news and, as good creatives, transformed it into a brilliant ad. As true creative people, they were inspired by life (and death) itself, not by somebody else’s work. The original ad had a headline, and I suggested they remove it because it was unnecessary – the visual and the small copy were enough to make you stop, understand and grieve. That’s one important thing you try to teach young writers and art directors. To get rid of things. When interns from Miami Ad School come to Lápiz, they’re so full of hopes, dreams and good principles, the least we can do is try not to destroy their innocence. We managed to hire Rogerio. Alexandre, though, was restless and hungry to travel the world.” Laurence Klinger is SVP, Chief Creative Officer of Lapiz. His work has received all major International awards, and in 2004 Lápiz was elected Multicultural Agency of the Year by the Association of American Advertising Agencies. He has worked in São Paulo, Barcelona and Lisbon but calls Chicago home now. In his free time, Laurence writes short stories. He has two books published in the United States: Still Life with Fish and The Dignity of the Wounded. 21
T he wonderful world of Words. Oh, for the Good Old Days. The six- ties, for example. Back when Bill Bernbach had his New York Yiddish, street-smart headlines wise-cracking like a Big Apple taxi-driver. Andin London, David Abbot was leading an erudite, very, very dry-witty groupof writers to stardom. A most wonderful time to be a copywriter. Copy wasKing. Art directors were in awe and didn’t dare to reduce headlines to thesize of today’s tagline. Only the writers knew how to use a typewriter. Butsadly, over the years, Copy died and the art directors alone held the secretsto the computer keyboard. Ads became a visual playground. Writers were leftto trickery. To somehow hide a headline cleverly in a photograph or an illus-tration that the AD just couldn’t see. Writers went underground. They evenlearned to dress exactly like an art director. Their portfolios were identical toan AD’s book. They lay hidden, like a spider from the light. They wrote radio(but usually no one paid attention to radio. Everyone should.). Writers wroteTV, but usually the copy was buried in the visual somehow. Sure, writers werestill part of a team. Like beer and pretzels are a team. So, what if the pret-zels are gone. Have another beer. But, hold on. While no one was looking,copywriters made a comeback. Writers had been sneakingly sharpening theirteeth on the internet stuff that no one cared about. Words slipped under theradar. Words came back with a vengeance. Poetry slams went national. Thespoken word. Hip Hop happened. Copywriters arose from the dead! So, fillyour portfolios with sentences, phrases, movie scripts, even a poem or two.A short story. Some long copy ads. Radio spots–because they’re fun to do,even if the CD won’t listen to your tape. Headlines? Why not? In the mean-time, take a stand-up comedy class. Our students do. Get everything off yourchest. Speak up. TIP NUMBER 3: WORDS ARE WORTH A THOUSAND PICTURES 22
Award: Silver Lion, Cannes Awards Festival After graduation David was hired by BBH, New York and Steve works at Dimassimo.Art Director: David Cuccinello, Copywriter: Steve PorcaroSchool location: Miami Ad School Prague Award: Addys Best Of Show, One Show magazine, Critique magazine Art Director: Mark Andeer, Copywriter: Kristen Wallace School location: Miami Ad School Miami My teacher at Miami Ad School Minneapolis, Greg Hahn, said to our class, “You need at least one FGA (F#!?ing Great Ad) in your book.” With that, I went back to Miami to finalize my book under the tutelage of Ron Seichrist. Ron is famous for two things, working you hard and knowing where your book is lacking. In my case, Ron wanted to see a smart campaign that would showcase my typography skills. Typical to Miami Ad School’s way of working I was teamed with a writer, Kristen Wallace. Kristen and I came up with many ideas that Ron helped us make sense of. Once we had the base idea we worked non-stop; going to bookstores researching typography of different time periods and reading (yes, reading) classic books. The result is the campaign you see here, which was honored with: Best of Show in the Addys, featured in The One Show magazine, Critique magazine and some others that escape me. Mark Andeer, VP, Group Creative Director and Miami Ad School graduate. Mark joined BBDO Minneapolis in 2003. Previously he had successful stints at Lowe, New York and DMBB, Detroit. He has a broad range of experience building brands on a variety of clients including: Hormel, Spam, Heineken, Sprite, Pontiac, MTV and Lego. In helping these brands he’s won numerous awards including: The One Show, Addys, Art Directors Club and Graphis. Mark also teaches at Miami Ad School Minneapolis. 2
caller:Is is possible I can get bread made intoa special kind of shape?baker:I don’t know if we shape bread. We domake 6-foot bread that we bake special…caller:I do not know but I’m looking to bewrapped up from head to toe…caller:Oh, you don’t sell the dough? See, I’man artist and I like to wrap myself in thedough and layout on the beach andbake myself inside the bread.caller:It’s safe for me to be in there right… Tobe cooked within the dough, like a biglittle Snausage?You would know about these things. Iwouldn’t want to catch yeast infection orsomething.baker:(Laughter)I do not know if you can catch yeast Award: Clio Goldinfection but that’s the funniest thing Award: Clio Grand Prize Art Director: Kamal Collins, Mark Infusino, Copywriter: Adam Kanzer Photographer: Scott Cirlin Art Director: Laura Metrano, Copywriter: Eddie Hahn School location: Miami Ad School MinneapolisI’ve ever… How much dough do you School location: Miami Ad School Miamineed man? After graduation: Mark was hired by Element 79. Adam by Saatchi Saatchi, New York and Scott was hired After graduation: Eddie was hired by Mullen, Winston Salem. Laura went to TBWA/Chiat/Day, NYC by FCB. As a copywriting student at Miami Ad School, Eddie Hahn, with art director partner, Laura Metrano, created this TV spot for Bell South. The chairperson of the Clio jury recommended that this student work be awarded the Grand Clio of the entire show even over the professional work. The Director of the Clios, agreed such a distinction be given to the work, but alas, the rules would not permit it. This was the only year that two Grand Clios were awarded. Eddie and Laura are the only students to have been awarded the Grand Clio. The TV spots were originally an assignment for a class in radio commercials. After the spots were recorded, it was determined that TV was a much better medium for this concept. Eddie Hahn, a copywriting major, wrote the three spots, using his own voice with 3 different dialects as he called the baker, the massage parlor manager and the undertaker. None of those he called ever realized the call wasn’t real. Eddie Hahn and Laura Metrano won the only Grand Clio ever awarded to students. Eddie works at McGarry Bowen, New York. Laura, now teamed with another Miami Ad School graduate, Mandy Hoveyda, works at Ogilvy Mather, New York. 2
Award: Top Dog Gold Award: Clio Bronze After graduation: Susana was hired by Energia Young Rubicam, Lima.Art Director/Copywriter: Michael Buss Art Director: Matt Parsons, Copywriter: Susana Pareja Matt used his art direction skills to create documentaries on the WestSchool location: Miami Ad School Miami School location: Miami Ad School New York Coast.After graduation: Michael was hired by GSDM in Austin. 2
G uerilla. An old term, perhaps. These days we call it “innovative media”. That includes anything from post-it notes on the laundromat bulletin board to a BMW film on the web. Sometimes the only way to reach your target is to get down in the street with them.The big deal today has been product placement. Have you watched a football game recently? Theplayer’s name is nearly invisible, covered by a dozen sponsors. Or a better example, a NASCARrace? Technology is able to change the sponsors to suit the audience. Better yet, simply make theproducts themselves—the story. The next great series on American TV after “Sex in the City” willbe Budweiser getting in bed with Diet Pepsi. The idea is to somehow get the attention with a sell-ing message in some way that doesn’t look like an ad. The consumer is so jaded that you mustdisguise your sales pitch. Many people just don’t want to look at ads nowadays. Not magazine ads.Not TV commercials. Sure, there was a time when everyone talked about great TV commercialson their coffee break. The commercials were bolder and fresher than the program itself. Notthese days, Even in the conservative American TV, sex is rampant and grandmothers use four let-ter words. TV commercials play things much safer. It’s simply not all about print ads or televisionany longer. Those times are gone forever. So is mainstream advertising dead? Not likely. But it willcertainly change. If you want a glimpse of its competition, go on the web. You can use any kindof vocabulary or four-letter words you wish, in any language you like. And best of all, the com-munication can be (or seem like) one person-to-one person dialogue. That’s the real objective ofinnovative media, isn’t it. “Psst. Hey, fella. Yes. You. I’m talking to you. I got a real good deal foryou. French postcards. The real stuff. Special price. Just for you. All the way from Gay Paree. Take aquick look. You don’t like these, I can get you just what you want. Just for you.” It’s scary. All some-one needs to do is to download all the stored data that exists on every purchase each and everyindividual made over a given period of time, (Hey—don’t be naive—the data exists!) along with allthe other existing data on that particular individual. Put all that data together and it’s quite easyto individualize both a message and the media to reach each and every one of us. Bottom line, itall comes down to solving an advertising problem first, then finding the appropriate media to use.Perhaps a simulated recording of mom saying, “Buy this one, dear. It’s OK.” TIP NUMBER 4: SOLVE THE PROBLEM FIRST, THEN FIND THE MEDIA 26
Award: Clio BronzeArt Director/Copywriter: Menno Kluin, Martin EdmanSchool location: Miami Ad School HamburgInstructors: Niklas Frings-Rupp, Oliver VossThis idea was later purchased and produced by Bacardi. Award: Top Dog Gold, Young Guns Finalist Art Director/Copywriter: Katia Rojas, Marjorieth San Martin School location: Miami Ad School Chicago Instructor: Tom Lichen, Lapiz After graduation: Katia was hired by Del Rivero Messianu DDB, Miami. Marjorieth was hired by Kolle Rebbe, Hamburg.Award: Top Dog Gold After graduation Ana was hired by Del Rivero Messianu DDB, Miami. Award: DAD London Commendation Instructor: Tom Lunt, Leo Burnett ChicagoArt Director: Ana Testa Art Director: Rodrigo Fernandes Teixeira After graduation Rodrigo was hired by Avalanche.School location: Miami Ad School Chicago School location: Miami Ad School Chicago 27
P igs for sale. No doubt that was the first outdoor billboard. Maybe even carved by Neanderthal Joe. (You had an extra hog or daughter, so you posted a sign outside your cave for anyone walking by who was hungry or horny.) After the guy in thenext cave put up a slightly larger sign, Joe had an advertising problem. So, he added anillustration of a pretty sexy Neanderthal girl, in fur-skin “hot pants”. Then Joe’s neighbormade his illustration bigger. Joe decided to go higher and put his sign on a rock. Even-tually he added neon and a revolving image. And so on until the twenty-first century.Things haven’t really changed that much. Outdoor is still a great medium when it’sgood and even when its done poorly, it’s still pretty good. Sure, huge billboards clutterup the landscape when there’s an amazing view of the Alps to see. But if you’re on thehighway and your stomach is telling you to stop and the billboard shows you a “Big Mac”at the next exit, you’re grateful for the intrusion. The truth is, art directors and copy-writers love the outdoor medium in any environment. First of all, it’s sooo big! Yourcreation is standing there like a giant monolith for the whole world passing by. (Finally,your mother understands what you do for a living. “My son does billboards”, she tellsthe bridge club.) You are famous. And you deserve recognition because the mediumis a real test of creativity. What can you show or say to someone traveling 70 miles anhour? Of course, not all outdoor advertising is on interstate highways. There are signsin bus shelters where your message can be read leisurely along with the graffiti etchedinto the metal benches. There are plastic signs on a wooden stake urging dog ownersto clean up after their dog. There are emergency signs. Stop signs. For Rent signs. Evenwhole buildings wrapped in signs. But we tell our students to really respect outdooradvertising. We remind them when they produce a newspaper ad–it lasts one day. Buta billboard, that’s something else. “Go rent a red convertible Ferrari,” we tell them, “andrace out on the interstate with your blonde curls flowing in the wind, drive by your hi-larious billboard, give a slight wave of your hand and let your heart swell in your chest.Smile a little smile, and drive on down the road.” TIP NUMBER 5: IMPRESS YOUR MOM AND DAD 2
Award: Top Dog Gold After graduation Piper was hired by Lowe Partners, New York.Art Director/Copywriter: Piper HickmanSchool location: Miami Ad School Miami Award: Show South Gold After graduation: Clarence was hired by BBDO, New York Art Director: Alejandro Ortiz, Copywriter: Clarence Bradley and Alejandro was hired by Deustch, Los Angeles. School location: Miami Ad School Chicago Award: CMYK Magazine After graduation: Sage was hired by the Foley Group Art Director: Nick Michaelson, Copywriter: Sage Rider in Minneapolis. School location: Miami Ad School MinneapolisAward: Top Dog Gold After graduation: Colleen was hired by MC Saatchi, LondonArt Director/Copywriter: Colleen PhillipsSchool location: Miami Ad School Minneapolis 29
T ime has come to put the ART back in art direction. While simplicity is the predominant approach in print advertising, complexity, if artistic, also has its place. The history of Art is filled with such contradictions. One extreme is always balanced by its opposite. Yin andyang. Apples and oranges. But, unfortunately in too many cases the mechanical look of the com-puter has replaced the vision of the artist. Yet, since the computer is merely a tool, in the hands ofan artist, beautiful things can be produced in megapixels. But, we see too many students sittingin front of a blue screen waiting for an idea. Or they grab the quickest image they can find from astock photo book and toss it on a scanner. Ah, the scanner, perhaps the perfect example of Jekylland Hyde. Evil or good? What will it be? We advise our aspiring art directors to re-visit their child-hood. Way back when they saw the world around them in vivid imagery. Back in the time whenthey could be fascinated by a doodle-bug. Chances are they could draw. Most likely they were theones to put black “Hitler” moustaches on the lady principal’s photograph. Undoubtedly these kidswere the ones who could scribble out a reasonable likeness of Donald and Daisy Duck “doing it” inthe school gymnasium. Find that freshness of feeling again, we tell our art direction students. Lookhard the for the artists out there who never lost their vision. Take at look at folk art and “outsiderart.” Look at some of the outrageous photographers who produce images nearly impossible tolook at. Human flesh oozing from knots in tree limbs. Monsters invading a suburban ranch house.But, beautifully, very skillfully, artistically, executed. Get up from your swivel chair and walk intoan art gallery. Or into a cathedral with monumental stain glass windows that bathe the woodencarvings with luminous color. Visit a holocaust museum. Or a dog pound. Don’t forget to take acamera with you. Or a sketch pad. Even a tape recorder. Sounds can be the very origin of a bril-liant visual idea. Listen to subway conversations. Pay attention to the dialogue and accents; that’syour next television commercial happening right in front of you. You’re in your 20s, 30s. Could youreally concept a TV spot set in a nursing home? Go visit your grandmother or an old aunt and payattention this time. Don’t give up concerts, but listen to music you never heard before. Re-createyour life by experiencing things you never knew existed. Then express yourself artistically. TIP NUMBER 6: REVISIT YOUR CHILDHOOD CURIOSITY 0
Award: Silver Clio Art Director: Kevin Koller Copywriters: Joel Guidry, Dan Hofstadter School location: Miami Ad School Miami Instructor: Steve O’Connell, Crispin Porter + Bogusky After graduation: Kevin was hired by Crispin Porter + Bogusky and Dan was hired by Leo Burnett, Chicago. Copy for Red Bull Bedtime Stories: Tagline: Up All Night Three Little Pigs: There once were 3 little pigs who, after some bad experiences with shoddy home construction, built a very secure home virtually impenetrable by any intruder. One stormy night, however, a loud banging on the front door interrupted the pigs eve- ning. “Little pigs, little pigs, let me in,” cried the wolf. The pigs approached the door and replied, “not by the hair on our chinny chin?” Cut the rhyming catch phrases!” The wolf interrupted. “You’re in danger!” You have to leave the house right now!” With the pigs attention focused on the wolf, they didn’t notice the closet door open and a figure creep out behind them. The pigs stared at the wolf and answered, “You can’t fool us! You might be big and bad, but we’re smart.” The wolf continued pleading his case in vain as the figure stopped just behind the pigs and raised an enormous meat cleaver over his head, his wild eyes and blood smeared apron illuminated with each flash of lightning. The pigs laughed, oblivious, “Forget it, Wolf, with all these locks and bolts on the door, you’ll never get in!” Then a voice from behind them answered, “and you’ll never get out!!” Goldilocks: The girl with golden locks arrived at a house deep in the woods just before nightfall. She was delivering a letter for an old blind man in town. No one answered when she knocked, so she entered the house and was pleased to smell porridge. Three bowls were set out, so she helped herself from one and found the porridge to be just right. She then became very sleepy and decided to go upstairs and retire. She chose one of the three beds and found it to be just right. She took out the letter and laid it on the night table next to the bed. Just before she dozed off, something occurred to her. She never read what the man had written. She reached for the letter, but froze before it was opened. From down stairs, she heard a deafening roar and what sounded like three fero- cious bears clawing their way inside the house and up the stairs. The girl sprang to her feet, ran toward the door and discovered some very bad news. First, the door had only led to a closet, and second, stuffed inside were dozens of foul smelling corpses flattened into human skin rugs! As she stared in horror, the bears crashed through the bedroom door and bore down on her. All she could do was look down at the letter, still in her hand. It read, “This is the last one I’m sending you this week.”“So, what did the Clio judges think about this campaign? The judges were exposed to over 10,000 ads in five days. They had to look at all of them, judge them and award a few. Most of the ads looked “Brazilian”: a simple idea, a strong visual (mostly a photograph) no more than one sentence of copy, and logo. After 9,999 ads that were done this way, the Red Bull ad felt very fresh: totally different from the ad that wants to be understood in only two seconds. This ad was confident that people would be curious about it and look at it longer. That was worth an award. If you take the time to look at it, you find out that the ad is really done with lots of attention to detail: first the brilliant copy with a clever tag line, then the nice illustration, and overall the whole look. I like this work because it reminds me what I learned at Wieden Kennedy. One credo of the agency was: “Never give them what they expect”. If you think of Red Bull you wouldn’t think of a layout like this, would you? This ad is 180 degrees from typical ads of young people with beautiful people and sports-like photography. This ad tells me something about the person who did it. He has his own style, own beliefs and own way. Nice to feel that in an ad. And what about Miami Ad School education? I love it. I wish it had been around when I needed it. The students have about 20 different creative directors that they work with in only two years. (I had only about five in my whole life.) The students go abroad and experience first hand how it is to work in the US, Brazil, Europe––anywhere in the world. And the students know what they are talking about after that time. After only one year, the Miami Ad School Europe location produced the best student of the year in 2004––awarded by the German Art Directors Club. And don’t think this the only talent coming out of there.” Oliver Voss is the Executive Creative Officer/Partner of Jung v. Matt. He’s also one of the most awarded creatives in Europe. After guest teaching at Miami Ad School for years and hosting the school’s interns at Jung von Matt, In 2003 Oliver co-founded Miami Ad School Europe. 1
Award: Top Dog Silver Art Director/Illustrator: Karla Laugerud School location: Miami Ad School MiamiAward: Top Dog Gold After graduation: Victor was hired by Premier Euro, Puerto Rico. David foundedArt Director/Illustrator: David Steinberg, Copywriter: Victor Cabezas an interactive advertising agency, Steinberg Advertising + Design, Miami.School location: Miami Ad School MiamiAward: Top Dog GoldArt Director/Illustrator: Svetoslav NikolovSchool location: Miami Ad School MiamiAfter graduation: Slav was hired by Publicis, New York. Award: Top Dog Gold Designer/Illustrator: Christian Liu School location: Miami Ad School Miami Instructor: Ron Seichrist, founder, Miami Ad School. 2
Award: Clio Silver Art Director/Illustrator: Matthew Woodhams-Roberts Copywriter: Rick Herrera School location: Miami Ad School San Francisco Instructor: Will Elliot, Goodby Silverstein Partners After graduation: Matthew was hired by TBWA/Chiat/Day, NYCAward: Clio Bronze Award: Appeared in CMYK magazine Award: Top Dog GoldDesigner/Illustrator: Monika Pobog Malinowska Art Director/Illustrator: Kevin Koller Art Director/Illustrator: Svetoslav NikolovSchool location: Miami Ad School Miami School location: Miami Ad School Miami School location: Miami Ad School MiamiAfter graduation: Monika was hired by Publicis, New York. After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami. After graduation: Slav was hired by Publicis, New York.
T ypography just ain’t what it used to be, say some creative directors. Stu- dents’ portfolios just don’t exhibit the strength in designing with type as they did in the 70s and 80s. Some creative directors insist studentsdon’t study type in school. Some blame the demise of typographic excel-lence on overuse of the computer. Perhaps everyone is using the computertoo much, but there’s a different reason the computer may be contributingto the problem. We call it the “Big Picture”. World-wide, students sit at a Macthat has a monitor of about ten inches square. By the time the student pullsup the necessary boxes of computer tools, the available screen area is aboutthe size of a rat’s ass. In the old days, back in the Middle Ages, before com-puters, art directors had to trace each letter actual size on a layout and thenpaint the letterforms with a brush. The shape of that letterform was etchedon the art director’s brain forever. Working big, the art director could “feel”the space and the result was a beautiful page of type. We can’t go back toworking by hand, can we? But we offer a great solution to the type dilemma.Simply buy a giant monitor screen. Too expensive? Then do what our cleverstudents do. They tile their work out very large, correct the type and thenreduce the work to size. The results are dramatic, as good as the “good ol’days”. It’s simply not true that students are not as talented as the old dogs ofyore. In fact, take a close look at ads that are running currently in magazines.The typography doesn’t knock your socks off. Why not? One reason is there’snot much copy on most ads these days; everything is visual. The professionaltype is not much better than the student type. Now look at editorial designin magazines. Lovely type. But in an ad, student or professional, there’s oftenno headline to beautify. However, given a typographic opportunity, studentscan do the job. Take a look at the typographic design in the next few pagesthat won big. These guys get the Big Picture. TIP NUMBER 7: LOOK AT THE BIG PICTURE
Award: Type Directors Club Of New York Gold After graduation: John was hired by Goldforest Advertising, Miami.Designer: John TommervikSchool location: Miami Ad School Miami Award: Type Directors Club Of New York Gold Designer: Steve Timana School location: Miami Ad School Miami _________ Award: Top Dog Gold Designer/Photographer: Viveca Ljung School location: Miami Ad School Miami Instructor: Judy Penny
P hotography is no longer a bastard child. In fact, photography is the pre-eminent expression of our world. All of us record all of our joys and all our sorrows photographically. Births, Deaths, and every high and low point of our lives. In fact, we tell our students, “Get thee toa camera store”. And these days they come back with a digital camera that downloads their imagesdirectly into the computer. No film, No processing. No waiting. Even copywriters now producevisual images as impactful as any art director. We also tell our students to “Shun stock photographybooks”. And they do stay away from stock photos ninety-eight per cent of the time. The exceptionshappen when, for example, they need a penguin. And in Miami there are many, many parrots,but we’ve yet to see our first penguin on South Beach. After our students have fallen in love withphotography, they avoid “stock” anyway. They found they can do it better themselves. But they dostudy the great photographers. Then they discover the weird ones and Weird is always interestingto young people. Weird is where they live, how they live. They pour over the weird stuff in fashionphotography, Remarkably fast, they shoot photographs that rival the things in Vogue, Paper, Flaunt,Zoom. The students also get good at “street photography”. Even catalog photography. Food. Por-traits. They get tremendous confidence because they can shoot whatever they want to shoot. Wealso see a big change in the way they use Photoshop. As they get more skilled at photography, theimage manipulation often begins before the photograph is taken. They also see their immediateenvironment more critically. They scout the city for interesting sets for photo backdrops. They castlocal characters. They even become an observer of light and atmosphere. This, of course, changesthe way they think, the way they concept. Ideas happen that never could have happened beforethey knew their way around photography. This way of thinking also spreads into their student tele-vision commercials. No longer do they pick up a video camera and treat it like a “point and shoot”.They use a careful approach to lighting, with reflectors and scrims and they understand what theyare doing. We see some video spots lit “high key” and others straight out of a Rembrandt painting.The only issue we find are with a few of the older instructors. Some of us still have a hard timelooking at photographs and commercials on a lap top. We remember the old days of storyboardsand contact sheets. Of course, some of us have bi-focals and it’s hard to focus on the lap top screenand we have to sit while the student skillfully operates the mouse. Humiliating, really. TIP NUMBER 8: PHOTOGRAPH THE REAL WORLD, THEN YOUR DREAMS 36
Award: Selected to run in Popular Photography Magazine Photographer: Daniel Lugo Award: Selected to run in HOW MagazinePhoto: Morris Moreno School location: Miami Ad School Miami Photo: Samantha ScottSchool location: Miami Ad School Miami School location: Miami Ad School Miami After graduation: Samantha is now a freelance photographer. She works in the US and 37 Japan and has recently been published in Ocean Drive Magazine, Lincoln Road Maga- zine and Florida International Magazine.
Award: Top Dog Gold Photo: Morris Moreno School location: Miami Ad School Miami After graduation: Morris is a freelance photographer. His latest projects were for Complot and Home Design magazines.
Photographer: Daniel Lugo Photographer: Ken PaoSchool location: Miami Ad School Miami School location: Miami Ad School Miami Photographer: Erika Blanco After graduation: Erica is a freelance photographer. Her recent work includes shoots for Western Union, Home Magazine School location: Miami Ad School Miami and Fashion Week of the Americas.Photographer: Nadine Kahn School location: Miami Ad School MiamiAfter graduation: Nadine is a freelance photographer. Her most recent shoot was for BellSouth. 39
Photographer: Jan Riggert School location: Miami Ad School MiamiPhotographer: Jan RiggertSchool location: Miami Ad School Europe (Hamburg) Photographer: Joanna Swistowski School location: Miami Ad School Europe (Hamburg)Photographer: Ken Pao Photographer: Joanna SwistowskiSchool location: Miami Ad School Miami School location: Miami Ad School Europe (Hamburg) 0
Award: DAD Commendation At the time this brochure was printed Rune was till in school. Award: Top Dog GoldPhotographer: Rune Degett Photographer: Daniel LugoSchool location: Miami Ad School Europe (Hamburg) School location: Miami Ad School MiamiAward: Top Dog Gold At the time this brochure was printed Daniel was till in school. Award: Top Dog Gold Award: Selected to run in How MagazinePhotographer: Daniel Lugo Photographer: Daniel Lugo Photographer: Danny NovalSchool location: Miami Ad School Miami School location: Miami Ad School Miami School location: Miami Ad School Miami After graduation: Danny was hired at YR, NY. “Great photography tells a story. At Miami Ad School you are forced to develop the skills to take the photos you need for your work, because we loathe stock photography. Some students actually become outstanding photographers, like those featured on this page. For example, notice the tension in the tree shot - nature’s imperfect backdrop, bent and snarled, combined with strong, elegant styling - an editorial winner. It is very strong, themed to perfection, Man (in this case, woman) vs. nature... brilliant! And the cat photo: The mystique of the feline species has always been a strong theme in fashion. Somehow the photographer here summons Marlene Deitrich.” Ian Brooks is sought after for his ability to tell stories through his photographs. His work has been featured in L’Uomo Vogue, Harper’s Bazaar, Elle, Paper, New York Times Magazine. Ian shoots for massive clients from Dreamworks to Revlon and even a nude Dennis Rodman. 1
JOIN THE FAMILY AND MEET THE MOM DAD OF MIAMI AD SCHOOLW hen you come to Miami Ad School anywhere in the world, you’re And further proof of the success of the global view is the unsurpassed re- entering one very large, very close family. You can feel it the cord of national and international awards won by Miami Ad school students. minute your walk in the door, whether it’s Miami, Hamburg, Ma- No other school is close to ours in the past few years. Of course, the realdrid, Minneapolis, San Francisco or São Paulo. Chances are you’ll be met proof is in job placement; our graduates are in major ad agencies all overby a shaggy, friendly dog of some breed or another. The atmosphere will the world winning the prestigious awards for their agencies. Even this year’sbe a little bit kooky, but you’ll be surrounded by friendly young people Interactive Grand Prix at Cannes had a Miami Ad School copywriter as partgathered in small groups concepting or brain storming. But you’ll feel at of the Crispin Porter+Bogusky (CP+B) team. The extraordinary thing washome and feel very welcome. And for the rest of your career––perhaps the student was interning at CP+B.your life–– you’ll have good friends from all over the globe who graduatedfrom Miami Ad School. The last year has seen another important enhancement of our world-wide network. Saatchi Saatchi in London has actually created a space within So, while this network of schools is hardly a mom pop operation, their agency for our school. In addition to the Miami Ad School-brandedthere really is a Mom Dad of Miami Ad School and they live in Miami space, they provide the equipment, teachers and individual advisors. TheBeach. Ron and Pippa Seichrist gave birth to Miami Ad School in 1993, with students work on actual projects for the agency as well as projects for theirthe mission to train young people for a career in the advertising and design own portfolio. Saatchi also encourages, creatives from other agencies toprofessions, but with a unique educational approach. Yes, students would teach additional classes for Miami Ad School students in the Saatchi space.have a professional portfolio when they graduated; the concept of a portfo- Word of the program hopped to Sweden and Lowe gave Miami Ad Schoollio school wasn’t new (Ron himself had invented the concept in 1978 when space in their Stockholm agency to do the same thing. Then word of thesehe founded Portfolio Center in Atlanta), but the program would reflect the two programs hopped back across the Atlantic and Carmichael Lynch invery latest needs of a what had became a global industry, and the gradu- Minneapolis opened the identical program with us in their agency. It’s aates of Miami Ad School would have something extra in their “book”. It’s small world after all.called global experience”. When Ron started Portfolio Center, the UnitedStates badly needed the resource of a portfolio school. But the world had Saatchi Saatchi World-wide recently offered the school another terrificchanged by 1993; ad agencies were all now part of a world-wide network enhancement of our global network, the “SS Stars” Program with Miamiand agencies needed young people with a broader vision. The award an- Ad School. In this program Saatchi offers positions to four Miami Ad Schoolnuals reflected the change; creatives from all over the world, not just the graduates for six months in one Saatchi office of the graduate’s choosing.USA and the UK, were winning awards. The creative manager of Wieden Then another sim-month posting in another region at a different SaatchiKennedy in Amsterdam told Ron and Pippa to “Send her some Europeans office. After the year is over, the graduates are offered full-time positionsor South Americans, we have enough Americans. We need some creatives somewhere in the Saatchi network.who think more broadly.” While all this was going on, just a twenty minute bike ride away the ad Ron Pippa placed the school in Miami to take advantage of the city’s agency Crispin Porter+Bogusky was revolutionizing advertising. The cre-diversity to train students with a broader perspective. The city is filled with ative director, Alex Bogusky became the advertising industry’s most award-South Americans and Europeans. A crazy, la vida loca city. Wild architec- ed creative on this planet, and CP+B was global agency of the year threeture. Creative. Sexy. Miami is the most diverse city in the United States and out of the past 4 years. The agency approached Ron Pippa and made aa perfect choice for a globally-focused school. But Ron Pippa had an even generous offer: “Let’s form a partnership and we can help your school andbigger idea: let’s bring as many outstanding creative people as we can from its network to take education to a stratospheric level. We think we haveall over the world to teach our students (they knew it was easy to get visitors some ideas that will rock the world and change advertising as we know it.to Miami Beach), but let’s go even further. Let’s send the students them- Education is a fundamental highway to make it happen. Let’s do it together.”selves to experience first hand what it’s like to work in multiple cultures in Ron Pippa’s answer? “Let’s roll.”multiple cities in multiple ad agencies and design studios. And so the ideaof “Quarter Away” became a part of the fabric of the program at Miami Ad Everyone benefits from such a partnership. CP+B now writes the curricu-School. Students could spend a year getting all their fundamental courses lum with Miami Ad School. This means our students get the scoop from theand then go to as many as four cities in major advertising capitals in the USA, agency that has turned the advertising industry on his head with its innova-Europe and South America. As the idea matured, the “Quarter Away” pro- tive use of media. Their focus on solving the problem first, then finding thegram evolved: the students could intern in ad agencies during the day and appropriate media dramatize the solution is fundamental to the program attake some classes in the evening. They continued their education and got Miami Ad School. It’s not just about ads anymore. The ad agencies can usepractical training at the same time. Soon it occurred to Ron Pippa that a the classroom as a experimental lab for breakthrough ideas. All these closenatural development would be to build a family of full-time schools around relationships with agencies keep the school, not only “in touch” but aheadthe world, making it easier for students to enter the network and bring their of the game. As an independent school we have far more flexibility thanown ethnic diversity into the mix. We built the network . It worked. It really, the universities to quickly change and adapt. Our students graduate withreally worked. Now students can start in Miami, San Francisco, Minneapolis, a portfolio that meets current agencies’ needs and demonstrates an aware-Hamburg, Madrid, or São Paulo. There are “Quarter Away” locations in Lon- ness of what’s just around the corner. And remember, the internships anddon, New York, Chicago, Prague, Amsterdam, Stockholm, Berlin, Budapest, sponsoring agency scholarships have reduced the cost of going to school,What’s next? Perhaps Shanghai or Toronto. Stay tuned. making the Miami Ad School education a really good bargain. 2
I n the meantime, Ron Pippa (Mom Dad) are watching over all their Later, after Ron sold Portfolio Center, the two of them had a successful children. Ron’s role is to stay in his office, listen to opera, and think agency in Atlanta, specializing in (you guessed it) international companies. up as many crazy ideas as he can, particularly those that might happen (Ron had many years as a creative director in New York, Atlanta, Richmond,in remote places in some far corner of the world. Pippa’s role is to find London, and Munich. From those experiences he developed the concept ofthe ways and means to make the ideas work. She’s a wonderful people portfolio/ad schools. In his earlier years he worked both as a copywriter andperson (mother); Ron’s the irascible, prickly old fart father. For example, an art director. Pippa’s agency experience was on the art director’s side.)students can’t come into his office unless they have an idea on a piece ofpaper. They can’t come to his office in the mornings because he’s writing In addition to their educational partnership, they’ve both been productiveon his books. If they must come however, they must come with an idea on in a dozen other creative ways: Pippa makes pots, carves incredible furniturea piece of paper in one hand and a cup of coffee and a piece of chocolate( with carved snakes and animals; paints, and draws. Ron has been a seriouspreferably Swiss or German, preferably Lindt’s) in the other hand. Pippa photographer for years; he’s made furniture since he was a child helpingnow runs the network; Ron (as always) his father, a Tischler (Germanruns amuck. Ron has not had his hair for cabinetmaker); Ron writesprofessionally cut in 60 years (he’s 70). poems, stories, and is in theIn fact, he swears that the money he’s middle writing a dozen books.saved by not paying for haircuts wasthe money they used to start the school. Ron Pippa also have aRon still teaches the portfolio class and beautiful personal life. In 2002is merciless with the students. He refus- they went to Ukraine to adopt aes to talk about mediocre work––only lovely little girl from an orphan-what’s very good or very bad. He has age south of Kiev. She kept hertough rules. His number one rule the Ukrainian name, Olya and hasstudents learn on the first day of class: turned out to be the spittingIf you’re on time, you’re already late. image of Pippa with Pippa’sHe plays the role of the creative di- outgoing personality. Olya is allrector (admittedly a demanding one) over the school in Miami andand pushes the students relentlessly. particularly likes to be on stageHe also puts pressure on everyone to with her mom. A year ago Ronplay soccer with him on Sundays and Pippa tracked down Olya’skeeps the game going until they all fall brother who had been adoptedfrom exhaustion or darkness sets in. by a family in Spain. Now thePippa is soft-spoken, still beautiful (she two families get together twicelooks 16, well–26); continues to teach a year, alternating one timedespite her exhaustive administrative in Spain and the other in therole and her class is one of the students’ USA. As it turns out Olya alsofavorites. She smiles. (Ron never does.) speaks Spanish since she spentPippa has a way with people. She gets summers in Spain with Span-agencies to commit to programs, cre- ish families who take childrenative directors to fly thousands of miles from the Chernobyl region into come to the school, companies to give scholarships. Her commitment the summers to get them out of the radioactive area of Ukraine to benefitto young people is contagious. their health. She and her brother converse in Spanish. (The children refuse to speak Ukrainian. Her brother is taking English classes in school.) Ron Pippa have been together a long time. She was a student of his at Portfolio Center. Pippa tells the story of their romance this way: “Ron, ru- The family portrait was taken at Ron Pippa’s farm in the Highlands, mor had it, was a woman-hater. Ron had just gone through a divorce a cou- North Carolina area. The forty-acre farm is surrounded by national forest ple of years before. He was nice to me while I was a student but that was it. with horses, a trout pond, streams and waterfalls. Ron Pippa often in- Then the day of my graduation, he came to me and handed me a note that vite their other children (the students of Miami Ad School) to come and read: ‘Since I can’t flunk you, will you marry me?’ (He knew when I gradu- stay with them at the farm. There have been photo workshops, portfolio ated that I planned to move to Boston.) I was dumbfounded. He had never retreats—a perfect place to concept ads while horses graze in view. When- even raised an eyebrow at me. I always felt he was something special, but... ever there is a hurricane evacuation in Miami, the Seichrists rush to the‘So,’ I replied, ‘could we have lunch, first?’ Then one day I came home to farm, often with students in tow. Last hurricane evacuation had fourteen my apartment and there was a huge monster outside of my door and I students staying at the farm with Ron Pippa until it all blew over. The farm nearly fainted. Turns out it was a giant inflatable gorilla that Ron had placed also has a magnificent workshop, a guest house, a pottery house and a very outside my door. In those days he drove an open top jeep and he drove special house for Olya built by Ron to last her through many, many hur- around town to my apartment with the gorilla. There was a note on the ricane seasons. The other family member is Smudge, the official school dog gorilla’s neck. A really beautiful poem Ron had written for me. That was it. (now joined by a yellow lab puppy, “Apfelmuss”–German for Applesauce, So, eventually, I married the monkey.” in honor of the first school dog, and since Americanized to “Moose.” Moose had not yet been born at the time of this photo).