Seasons Greetings

Used to be agencies did amazingly cool holiday cards because it was the easiest way to get something into the One Show without a client futzing with the concept.

Now that self-promo pieces are mostly abolished, agencies do it because they're still fun to work on.

Here are a few from this season. Any others you know of? Post them in the comments. (This was from last year, but it still cracks me up.)

Ads Worth Spreading

An ad competition sponsored by TED? I'll take that over almost any award that's out there. How about you?

Side Project: Chicagoans for Rio

At Makin' Ads, we're huge fans of side projects. Here's a great one. More specifically, it's Kevin Lynch giving a Pecha Kucha presentation on a great one. You can read Kevin's original post on it here.

Chicagoans for Rio: The Pecha Kucha Presentation from fifteen ideas on Vimeo.

Jim Haven Wants to See Your Print Work

On the heels of the last two posts, here's something from Creature co-founder, Jim Haven.

In this article for, Haven explains what he looks for when hiring creatives: "I’m looking for great ideas, like everyone else, but I think I’d almost rather see a well-crafted print campaign right now than something like augmented reality or an iPhone app. Shocking? Old school? I know; but there’s a reason, actually."

Any of you wanting to work for a shop like Creature (98% of you) should check out the article to read his reasons. They're pretty much in line with our Blank Page Manifesto.

R/GA on the Future of Agencies

I saw these guys speak this year at Cannes. A great talk. Here's kind of a short version that I thought was appropriate on the tails of Nate's Traditional vs Digital article.

Barry Wacksman & Nick Law of R/GA

12 Ways Digital is Different Than Traditional

We're proud to feature the following article, another in a series from AKQA creative Nathan Archambault. Thanks for the insights, Nate. (You can follow him on Twitter @NKArch.)

I’m a creative, you’re a creative. Right?

Not exactly.

In some ways we’re the same. We’re briefed. We concept. We revise. We present. Hopefully, we sell. But behind closed agency doors there are a lot of differences between what digital and traditional creatives do. And while I have a writer’s perspective, all this stuff applies to you, too, art directors. Don’t reach for your Wacom tablets just yet. Now where to begin…

Digital creatives don’t make ads. That’s what traditional creatives do. TV spots, print ads, billboards, all that good stuff. Digital creatives develop experiences. Anything that involves a click and a call to action is more than an ad. It’s content. Sites, mobile apps, social media. Videos, products, services. These are all experiences that interact with people differently than traditional ads, both intellectually and physically. Even a static banner that drives to a website is an experience. Unfortunately, that’s why so many banners are ineffective – confused creatives think they’re making an ad.

Digital has to work harder. TV ads have no competition for your attention. They pop into your living room. Then they’re gone. But digital work will only be effective if people choose to spend time with it. It needs to be entertaining, provide utility or both. It takes much more strategic thinking to create a successful digital campaign. You can’t just throw ideas against the wall until one sticks. You’ve got to have a damn good reason for throwing an idea at that specific wall, at that certain time, at that very spot.

Digital doesn’t just talk. It starts a conversation. Digital isn’t about getting people to think something; it’s about getting people to do something. Click here. Proceed to check out. View this video. Take an action, any action, whatever it may be. Traditional media passively connects with people. It interrupts TV shows or appears in between magazine articles. Look at all the TV ads that drive to a brand’s site. Digital is where brands can really interact with people. Take AKQA’s recent award-winning Fiat Eco:Drive work. It’s not targeted at people buying cars, exactly. It’s aimed at people who are trying to decrease their carbon footprint. Fiat listened to them. Now they want to hear more from Fiat.

Digital knows how to multitask. The best traditional advertising does one thing. Spreads awareness, makes something cool, provides entertainment, gives a brand a voice. It falters when it tries to do too many things at once, or tries to reach too large an audience. But digital work has to do everything at once. It has to be functional and entertaining, clear and thorough, concise and explanatory. You don’t know who is viewing your work. Copy has to appeal to different users. A site isn’t going to talk to a first-time visitor and a diehard fan the same way. That would alienate both groups of people. If someone doesn’t like the experience you’ve created, they’ll go surf somewhere else.

The creative departments aren’t built with the same pieces. Traditional agencies are a 50/50 split of art directors and copywriters who usually work in teams. That’s not the case at digital agencies with design- and tech-heavy projects. (I’m not just talking about visual design. There’s user experience design, too.) Digital creative departments are a mix of copywriters, art directors, visual designers, user experience designers, and creative developers. That means writers work on more projects. Art directors become better designers. And everyone thinks more strategically.

Digital creatives aren’t paired with a partner. That’s not exactly true. We’re actually paired with partners all the time. A new one every project. In digital-based shops, it doesn’t make sense to permanently pair a copywriter with an art director. Depending on what the client wants, I could team with anyone from the creative department. What creative really wants to be monogamous, anyway? It’s not natural. Especially for people who choose to get into advertising.

There’s been a shift in the balance of workload. Digital work comes in all shapes and sizes. There are copy-heavy projects and design-heavy ones. Tech-based projects and strategic ones. I’ve written copy on my own, like when I authored seven articles for a client’s microsite. Then there are projects, such as visual branding assignments or web guidelines, that doesn’t require much input from a writer at all. That doesn’t mean anyone gets off easy. Everyone is still on the same team. Sometimes I work late watching the designers work their magic. Maybe they’ll need copy, maybe not. My doctor thinks I could use more Vitamin D, but I’ve made way cooler websites than him.

Digital art directors do more than think. We all know one. Those art directors who can’t draw and fumble through Photoshop. Who knows, maybe they get by on their “ideas.” Well, they’d never make it in digital. Just being able to come up with an idea doesn’t cut it. Digital art directors need to be able to execute and nail the minor details. They can’t rely on storyboard artists, graphic designers and post shops to do the dirty work. They need more talents in their toolbox. Which makes complete sense. If you love design, you should know how to do it.

Digital isn’t linear. Traditional ads live in a bubble. They have a clear beginning and end. Once a commercial has been shot and edited, it is what it is. But anything developed for the web evolves. Before coming to AKQA, I’d never created a 40-page copy deck. But that’s what happens when a project has copy for a brand site, a Facebook page, online banners, digital promotions, and mobile apps. Not to mention all the other shapes that pixels can take.

In digital, measurability isn’t a grey area. It’s black and white. Traditional has the luxury of being cool, philosophical or humorous because it’s building brand equity and setting the long-term tone. But there’s not a single brand in the world that would rather be loved than sell their product. Effectiveness is something that has to be taken into consideration for every digital project. Before a digital campaign launches, benchmarks are set. It’s clear whether any given campaign is a success or a failure. So while traditional creatives may say their project is cool, digital creatives can say their project was effective. And only one of those things is not subjective.

Digital happens faster. It takes a while for a traditional campaign to go from brief to launch. Factors like a shooting schedule and media buy can really bloat a schedule. But a digital agency acts as a creative agency and a production shop under one roof. Producing a project can be much more efficient. With the tech team across the room, we can see progress as it happens, instead of relying on outside vendors. That means less waiting around before an idea goes live.

The dinosaurs are going extinct. Being outdated and reactionary isn’t a problem for every traditional agency. Some of them are doing fine. But a lot of them aren’t. Some of them have become the places where creatives go to die. (Maybe not die - that’s a little harsh - but wrap up a career in peace.) As a young creative, the last thing you want is to be influenced by jaded industry vets who have already checked out. Digital doesn’t have the dinosaur problem. The whole industry is too new. It draws the best talent. The most eager talent. It’s not just people into advertising. It’s people into the latest trends and technology. I chose AKQA because of the people. More smart, dedicated people under the same roof than I’d ever seen before. It was something I wanted to be a part of.

If you’re breaking into advertising, you have a choice to make. Traditional vs. digital. David vs. Goliath. The blue pill vs. the red one. There’s no doubt traditional agencies are learning from digital ones, trying to avoid extinction. While digital agencies are busier than ever and getting more traditional assignments. Then there are these so-called integrated agencies popping up left and right, at least on letterhead. True integration is easier in theory than practice. The most important thing is to find a place where you can do the work you want to do. And then kill it.

Notice anything else? Leave a comment.

The Kind of Creatives We Need to Be

Here's a clip I stumbled upon over the weekend. It's Chick Corea playing the drums.

If you're a Chick Corea fan, you know he's one of the most amazing jazz pianists ever. Who knew he played the drums? But it makes perfect sense. He's not just a pianist. He's a musician.

Look at how effortlessly he picks up the sticks and starts playing. Meanwhile, his bass player sits down at the piano and starts jamming just as easily.

That's the kind of creatives we need to be. Art directors need to be able to write. Writers need to be able to art direct. UX guys need to be able to understand media. We all have our specialties. But need to be more than specialists.

Otherwise, we're just the drummers who throw in a little extra cowbell.

The Mentor Effect in

An article that began with a survey we conducted here is in today. Check it out. And if you're not familiar with, check them out as well. Their Salary Monitor is down now, but once it's back up it's worth a look. It's accurate, and I've never made a job change without consulting it first.

A Slightly Better Video Than Mine

As an aside to the last post, here's a link to a video Luke Sullivan did. Funny stuff. Read his comments on the post and you'll see that we was experimenting, too.

Getting Better: A Christmas Story

I was a communications major as an undergrad. (Later, I heard that described as a major in nothing, which is fairly accurate.)

I used to make short videos that I'd show on campus and at local theaters. Some were good. Lots were awful. One won "Best Student" at an obscure film festival. But only because it was uncontested.

Here's one of my favorites...

I'm sharing this 15-year-old film for a couple reasons: First, it's the holidays. And second, it shows how bad my stuff really was. (Even though I thought it was great at the time.) Even the audio quality is poor. I hadn't learned technical phrases like, "mixing," "overdubbing," or "turn the volume down."

Ira Glass says if you want to be creative, you've got to be willing to do really bad work for a long time. Here are two things I think anyone in portfolio school should be doing:

1. You've got to experiment. As you can probably tell, this video was strung together from a bunch of unrelated footage. I wasn't trying to make anything brilliant. I was just having fun.

2. You've also got to get as many eyes on your work as possible. When I finished any of these videos, I'd submit them a monthly screening. No matter how bad they were. I didn't mind people merciless judging them it, because I could always walk away and do something better.