Floris Hülsmann and Joris van Elk receive first ADCN 2013 yearbook and iPad app
Last week the Art Directors Club Nederland presented its yearbook for advertising and design. Besides the fact that it was beautifully designed, this year’s book is very special since it is for the first time accessible through an iPad app. What was unique about the book too, is that it’s usually hard to find people who want to make it, since it’s a hell of job. But ADCN chairman Lode Schaeffer enthusiastically told the crowd in the ADCN clubhouse that this time he was approached by FHV BBDO team Joris van Elk and Floris Hülsmann who told Lode they felt a strong urge to make this year’s book. With the theme ‘Monnikenwerk’ (Sisyphean task) Van Elk and Hülsmann wanted to celebrate the fanaticism and determination that can make the difference in advertising. More…
Èwa Oduguwa and Jolien Kappert, both students at the Willem de Kooning Academy in Rotterdam, won this year’s ADCN workshop. During this one day workshop 18 teams (a mix of junior agency teams and students) worked on an outdoor concept for Unilever brand Unox, a brand with a rich heritage, especially loved for its ‘rookworst’ (smoked sausage), traditionally eaten with ‘boerenkool’ (kale-potato stew) in the winter season. After a briefing by Martijn Morsink (Sr brand manager Unox) the teams were coached by a group of mentors: Arjen de Jong (Animal Farm), Annemiek den Uil (freelance), Stephan Gonnissen (Etcetera and ADCN), Maarten Vrouwes (JWT) and Geert Ploeger (freelance). At the end of the day the jury, consisting of Marc van Amerongen (JCDecaux), Martijn Morsink (Unilever) and ADCN board member Peter van Leeuwen chose Èwa and Jolien’s concept. Their idea was based on the infamous Damn You Auto Correct fuck ups. Since Unox is a decent brand, this autocorrect doesn’t talk about “shaved pussy” when “shaved pork” was really meant; instead granny talks about ‘rokwiet’ (dress ganja) instead of rookworst – showing in a nice way how Unox works for all ages. Besides the branded beanies and 15 seconds of fame, the two also won the ADCN yearbook 2013 – to be officially released on 28th of november. Congrats!
We know, Cannes is already gone, but we actually forgot to mention one important award; the Young Director Award, won by Jonathan Elbers (Second prize in the category ‘European Filmschool’). Earlier this year the ADCN (Dutch Art Directors Club) didn’t think the film was good enough for a Young Talent award, but fortunately the YDA jury judged differently. The concept for this commercial promoting the Dutch Film Academy is quite simple, but the production – all filmed in a studio to substantiate the proposition – allowed Elbers to show all of his skills. It was shot by Thijmen Doornik and produced with the help of the Netherlands Film Academy.
Not going to Cannes next week? Go visit the opening of Sharp Suits: an exposition by Irish designers Mark Shanley and Paddy Treacy visualizing ridiculous feedback from clients in poster form. Since clients are an endless source of ridiculous feedback, the exposition is continuously growing. ADCN was able to get this well known exposition to the Netherlands; around 50 posters were selected and will be on display at the ADCN clubhouse at the Westergasfabriek (Polonceaukade 17) this summer. The opening, on the 20th of June, will be combined with a BBQ. Beware, though, it’s a Dutch event, so you’re requested to Bring your own drinks. Gezellig, nevertheless!
Update: due to the weather forecast the opening has been postponed a week to the 27th of June – same place, same time.
Christian Borstlap proudly presents 5 (out of 7) bulbs to the press – photo by Matthijs Immink.
Unfortunately it took us half a week to recover from the ADCN (Art Director Club Netherlands) awards (read: the party afterwards). Which is why only now we’re able to do a write up. Anyway, unlike last year the venue (Gashouder, instead of Concertgebouw) and James Bond-inspired opening show were quite impressive; sexy girls, wearing tight latex suits (apparently a special desire of Etcetera’s Peter van Leeuwen), entered a box-ring stage accompanied by pumping music and a light show. It even made us feel a little proud about our industry: “Yeah, we work in advertising, baby!” The English-speaking presenter, Juan Señor, who also does the awards in Cannes, made the chitchat-interviews on stage with the different Jury presidents – just like last year – feel somewhat bipolar. Though we very well understand that the ADCN wants to include the international agencies, most Dutchies were either hard to follow, because of their not so fluent English, or simply doing their speeches in Dutch. But enough about form, let’s talk about the awards. Then again, form won Big last Wednesday. More…
Alvaro Sotomayor, CD at Wieden+Kennedy Amsterdam and “Spanish political artist,” launched his new exhibition Toro to the public this weekend in the Art Director’s Club (ADCN) clubhouse at Westergasfabriek. The painting series by Sotomayor makes heroes of the 69 victorious animals in the recorded history of Spanish bullfighting, since 1771. The project, which took Sotomayor three years to complete, follows his earlier photographic series that graphically depicted humans suffering the bull’s fate. Sotomayor about his paintings: “All of my work relates to man and questions the position of man in nature. With the Toro series I am having a conversation about the absurdity of Spain’s national pastime that revels at the expense of an animal’s suffering – and utilize my work as a weapon to create change.” The Toro series is born from entirely recycled and reclaimed materials and representative of Sotomayor’s own personal “creative odyssey.” Sotomayor has lived in Amsterdam for the past 18 years and was recently the first non-Dutch born advertising creative to be inducted into the prestigious ADCN Hall of Honors. You can check out Toro at Polonceaukade 17 on weekdays, during business hours, until March 29th.
Photo: Maurice Mikkers
The biggest winner last night at the ADCN (Dutch Art Director’s Club) awards was Lemz. All the ‘bulbs’ – of which one was a Grand Prix (the very best integrated work) – went to their Fireworks campaign. Our very favourite campaign of the year Domino’s Pizza Pepperoni by Indie won one Golden and two Silver bulbs (TV, internet and activation) – in our opinion it was at least as good as Lemz’ work. Wieden also won one Gold and two Silver for Heineken’s ‘The making of The Date’ (internet, TV, and activation). Selmore won Gold for Bavaria and Hugh Heffner – so we can be sure that Charlie Sheen will also win Gold next year. We were a bit surprised that N=5 won Gold for Telfort – not really our taste. Y&R won one Gold and two Silver for LG’s ‘smart thief‘ (internet, TV, and viral). A bit strange that alle these films are winning different prizes for the different channels through which they are broadcasted – does the channel matter? Another one of our favourites was Hema’s with a push-up bra in print, promoted by a male model, going viral big time – by Doom & Dickson. It won Gold and Silver. Note: Hema is one of the most down to earth department stores in the Netherlands. TBWA won Gold with its print campaign for DIY chain Gamma; free Lego – “Just like dad.” In Interactive Tribal DDB won Gold and Silver for ‘Obsessed with Sound’ for Philips. One of the most impactful commercials of the year by Publicis for ALS won Silver – “I have died by now.” Special bulbs went to Mischa Rozema (for directing OFFF), Christian Borstlap (art direction and illustration, for LV and Mr Porter), and Simon Warner (photgraphy, for Octopus).
On April 26th, 2012, ADCN held their 45th award show at the Concertgebouw in Amsterdam. Photos by Alex de Groot. All photos here.
Write the future did what most of us expected, it won big last night at the Dutch Art Director’s Club (ADCN) Awards: the Standing bulb (read: Grand Prix) and three golden bulbs (Integrated, Film, and Print/Magazine). MassiveMusic also won an award for the music in this commercial. Overall, TBWA\Neboko won most awards, taking home 2 golden (in Film for Pearle and in Print for Heineken’s Social Networks) and 4 silver bulbs. Live Interactive billboard (n=5) won gold in Outdoor. Bavaria’s DutchDress (Selmore) – causing such a big stir at the World Championship football last summer – also received a very deserved golden bulb in Activation. Christian Borstlap’s posters for the overview exhibition of Dutch advertising classics won gold in Graphic Design. In Interactive there was no gold. This could mean that digital creatives are still mostly tech driven, rather than aiming for the big idea. It could also mean that the ‘traditional’ creatives (the largest part of the Jury) are not able to fully appreciate digital innovations. Or it might be a bit of both. In any case, there were three silver bulbs in Interactive for Philips ‘Wake up the town‘ (Tribal DDB), Live Interactive Billboard (see above – a big digital idea, created by a ‘traditional’ agency), and Vodafone’s Madame TreSesti (Achtung!). Our very favourite film ‘Drama Queen‘ for the Young Director Award (TBWA Helsinki, directed by Rogier Hesp) got a bulb in the category Young Directors, but unfortunately not gold.
We are a bit late with this post, but only last Friday did we receive a copy of the ADCN (Art Directors Club Netherlands) book 2010. The annual, featuring the best (as in, most creative) work conceived in Dutch advertising, was accompanied by a little note saying “We look forward to receiving your review in our inbox”. In other words: “Quid pro quo, Dr. Lecter”. A bit cheeky, but fair enough. After all, we were quite happy to receive our personalized (“No. 790”) Limited Edition ADCN book. So to post about it, is the least we can do. The book that celebrates the ADCN awards – including the prestigious ‘lamps’ – is created by a different agency every year. This year the honour went to …, Staat, an ad agency that specializes in design. Though years ago VBAT created a mandatory grid for the book, …, Staat took the liberty to change the fonts into Helvetica and Times. The reason was that the fonts had to fit the concept, which is putting classic bookbinding on a pedestal. And that is why the book breathes craftsmanship; it has a distinguished gray textile cover, is gilt-edged, and has a traditional ribbon-marker. The concept was further translated into a sub-cover underneath each chapter, with a pressman’s jargon equivalent of the chapter itself and a matching photo. So for example the chapter “Print and Outdoor”, is subtitled “Landscape”, with a short explanation. All in all, …, Staat’s concept fits the holy bible of advertising like a glove; craftsmanship meets craftsmanship. Cause when you leaf through the work and see things like Philips Cinema 21:9 , Kit Kat Jesus, and Stanislav, you realise that apart from all the mumbo-jumbo, advertising still thrives best through craftsmanship.