With conventional agriculture the number one cause of global warming and biodiversity loss, addressing food sourcing is a huge part of halting the climate crisis. French supermarket chain Carrefour has led the transition to more responsible sourcing to astonishing business success.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Carrefour teamed up with Marcel/Publicis Conseil to launch its Act for Food campaign – a programme of specific actions for a full-scale food transition by 2022. By restructuring and redirecting its business to be more sustainable, Carrefour was able to effect real change in the ecological and economic ecosystem, benefit both customers and farmers, and also increase its profitability.
\n\nRather than simply talk about solutions, they had to act and so Act For Food saw the company alter its operations from stores and farming to transportation. There was even a dedicated team at Marcel made up of creatives, strategists and accountants who helped to change the business.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We had to identify these actions and create new ones which are not that simple actually. We had to be really proactive to convince Carrefour to go further with new ideas, new acts and give the platform ongoing substance.” ","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"As the initiative was such a success in France it was rolled out to ten countries worldwide, where it saw an improvement in food standards in its Chinese stores and stabilised pricing in Brazilian stores. “The biggest obstacle was the scale of it – the more people who are involved the more difficult it gets. It had to work on a worldwide scale because it was a platform for ten countries, but it was also about the scope of the players impacted by this platform, from marketing to supply chain,” explains Lemarié.
\n\nAct for Food is an indisputable success. This impossibly ambitious project not only saw the value of Carrefour rise substantially but it also saw a general rise in the purchase of organic vegetables.
\n"}],"themeBackgroundColour":"","slug":"behind-the-work-act-for-food","themeColour":"","themeTextColour":"#000000","title":"Behind the Work: Act for Food","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-act-for-food.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=Q_1s-kUELrs"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"Behind the Work: Beats Tempo","ctaImages":[],"id":"behind-the-work-beats-tempo","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/541199_a0b4c71259c047e18cd156298f914af0.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/541198_1314c5ffbde64fed82e54f42b717bc33.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/537966_876e859c173b4777996de556b71ea0a1.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/537965_4b492451b4144b82ae1d6640c9813c0b.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/536149_14e8c4a8de0846f3b11d5ac1203393cb.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/70/17/536148_7ed7a2932944403ebc3b4f338fc103b6.jpg"}],"metaDescription":"","metaKeywords":"videos, digital, wood pencil, Beats Tempo, interview, United States, Firstborn, Matt St. Gelais, design, Jennifer Xin, New York,Video, insight, Apple, Andrew Schlanger, behind the work, digital design","pageCategory":"behind-the-work","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-act-for-food.json","slug":"behind-the-work-act-for-food","pageType":"video","ctaTitle":"Behind the Work: Act for Food","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/541247_5a682cd5b92c410ebd3e9034be30dc36.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/541245_70fdada079c34c62a8419a1cd222d50c.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/537954_5a07d9a9623e4d35a17cf543e21a777e.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/537953_5301ecb016e54b26b2e17980958ca800.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/536057_9c2913293861438aa77fca79d9020f23.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e4/c2/536056_43e695c29b8643749b53deeea6bb613b.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Here, the Firstborn team behind the staff training programme for Beats Tempo, Design Director Jennifer Xin, Executive Producer Andrew Schlanger and Executive Design Director Matt St. Gelais, come together to discuss the project from idea to realisation.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Firstborn was tasked with solving a problem for Apple: how to train retail staff on the new Beats Tempo product before they have access to it physically. The team needed to bring the product to life and educate a global range of users to the level that they could be advocates for the product. To achieve this they developed a platform that could scale and be tailored. “We didn’t do a ton of thinking so to speak; we thought by doing. We got the brief on what the product is and all the key features and we just got to work making prototypes and demos,” Design Director Jennifer Xin explains.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Our north star was to design an experience that was as innovative as the product it was representing","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Guided by the quality of the product the team began creating a platform that was as groundbreaking and user friendly as an Apple product. “Our north star was to design an experience that was as innovative as the product it was representing,” says Executive Design Director Matt St. Gelais.
\n\nWorking for a brand such as Apple meant working from a ‘black site’ in one room, at one table which meant the team could think of an idea and immediately begin to realise it. “It’s a truly collaborative team; this is a true and complete expression of the work we do at Firstborn – it’s ideation all the way to code and what I’m most proud of on a bigger scale too is we created a platform for them,” says St. Gelais.
\n"}],"themeBackgroundColour":"","slug":"behind-the-work-beats-tempo","themeColour":"","themeTextColour":"#000000","title":"Behind the Work: Beats Tempo","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-beats-tempo.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=rw7TrBiHD-0"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"Behind the Work: Beirut's RiverLESS Forest","ctaImages":[],"id":"behind-the-work-beiruts-riverless-forest","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/541219_a8f2c96e92814a8da4fb8326fa714f88.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/541218_3e76117a48cd4ed1b7acb0724d40bd4e.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/536737_a22c4aec66624f0c86b7b961cc1892d3.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/536736_2f5e1e3251504700852d5b20450c3a27.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/536085_b17cfec47def4dbdba01b3466677f9d1.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/f2/3b/536084_3f8a09db34414180b70d0d1209f19e5c.jpg"}],"metaDescription":"","metaKeywords":"videos, Beirut's RiverLESS Forest, interview, Impact, Beirut, Future Impact, RiverLESS Forest, Forest, RiverLESS,Video, insight, Deborah Alden, Lebanon, behind the work","pageCategory":"behind-the-work","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-join-the-meltdown.json","slug":"behind-the-work-join-the-meltdown","pageType":"video","ctaTitle":"Behind the Work: Join The Meltdown","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/541246_a2dd4d3ee4ee4191ada0de14ee79a36b.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/541244_45a225872e854175bc30155c5f380b50.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/536937_5e2c8773b72e4752b4402d3ff88e4bb2.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/536936_f023446fbbe24256842ef40cfc190ac3.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/536067_f64c97a5f1374c71a26635045b1423f1.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9d/95/536066_bbc8266ca59249dcb05929779acc8e78.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Awarded in late 2019 the Future Impact award recognises creative leaders working towards sustainable change, offering a 12-month programme to help develop their project. Here Adib Dada, founder of theOtherDada, speaks to mentor Deborah Alden, Global Strategy & Design Leader for Principle and Adaptive Organisations about his reforestation project.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"After moving to the United States to study architecture and biomimicry Dada returned home to Beirut to set up his company with a view to introducing a more sustainable approach to architecture and town planning to Lebanon. “After studying biomimicry it became clear that nature is the ultimate mentor,” he explains.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"After studying biomimicry it became clear that nature is the ultimate mentor","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"In May 2019, tOD partnered with crowdfunding platform SUGi Project and social enterprise Afforestt to plant 800 saplings from 17 different native species in Beirut in a 200sqm plot near the river for an Urban Afforestation Workshop. This was followed by planting 400 saplings in 100sqm of land in a cemetery in June.
\n\nBy using the innovative Miyawaki Technique of afforestation, these forests will be 100% more biodiverse, 30 times denser, sequestering 30 times more CO2 and pollution, and growing 10 times faster than conventional man-made forests.
\n\nIn February 2020 D&AD awarded Adib a $15,000 development grant. This enabled the team to meet urgent demand and to build on the momentum that they worked so hard to achieve. They have since expanded to new areas and continue to restore vital biodiversity to much needed areas in Lebanon, with authorities approaching them to discuss replicating this work in other countries.
\n\nWork continues under the new moniker theOtherForest in the wake of the massive explosion in the city caused by a stockpile of ammonium nitrate in Beirut's harbour in August 2020. In January 2021, D&AD confirmed an ongoing partnership with theOtherDada to plant a tree for every Pencil awarded.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Crocodile Inside sees a couple’s huge argument literally tear their world and their apartment apart, accompanied by Edith Piaf’s L’hymne à l’amour. As the boyfriend falls through the collapsing building his girlfriend has a change of heart and leaps across to rescue him. They reunite as the building crashes to the ground around them, ending with the tagline ‘Life is a Beautiful Sport’.
\n\n“I think what [Lacoste] wanted to show was the importance of having an elegant attitude when going through adversity,” says Berne. This is illustrated by the leap made by the girlfriend, which is a motif for Lacoste. In this gesture she makes the decision to reunite, saving her relationship and tying the ad into the legacy of this series of work.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It’s a crazy world of fantasy","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"This high-octane story is held together by believability and the team explains the decision to work with experienced actors instead of models – which they believe is key to the success of the project. “How do you believe in these people and recognise yourself in them?” Gallet asks. “Sometimes, the weakness of a fashion campaign is that it looks a bit far from reality… We wanted to prioritise the acting skills.\"
\n\nThe filmic, blockbuster feel was achieved through clever pacing and VFX by Time Based Arts, worked into the budget by shooting in Ukraine. The team concedes that this was an expensive project but they argue that it takes more money to capture hearts and minds.
\n\n“For me [the success of the ad] is not about budget, it’s about a dreamlike ad that transports you in a crazy world. It’s a crazy world of fantasy,” says Marmion.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Created in partnerships with Adobe
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"A group from Rotterdam’s Studio Dumbar came up with the idea of a motion design festival while at a print fair. Struck by the lack of moving image they began to think about how a festival of motion design could work and decided to stage their own.
\n\nAfter taking a chance by asking Extension Media – a Dutch provider of advertising screens on public transport – if they could broadcast work in Amsterdam Central Station, the first edition of DEMO began to come together. The result was that digital motion design work was shared on 80 screens over 24 hours.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It was like a living exhibition","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“It was like a living exhibition, so at one o’clock on this platform we would do typographic work and at three o’clock you could see only abstract work, so if you stayed there for 24 hours you would have a completely different experience and feeling,” recalls Enebeis. “It was so impressive to see a public space; we’re so used to seeing advertising everywhere and suddenly it’s transformed, and it’s become a museum or a gallery.”
\n\nWhile the festival itself is impressive, it is the branding and identity the team won their award for. The innovation came when it was decided that the logo should move. This is where creative coder Sturing came in and built the whole thing from scratch, and Haanappel worked on introducing a red that wouldn’t be mishandled by Instagram.
\n\nAfter all this hard work the team, as they were essentially working for themselves, put their logo front and centre.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Generation Lockdown, created for the youth anti-gun violence activist group March for Our Lives, had to achieve the most impact while causing the least trauma to those taking part.The team at McCann, two of whom had a personal connection to the project, created this film with a view to amplifying the message of March for Our Lives at a time of high political tension in the United States relating to gun violence and school shootings.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It captures the raw truth of what children learn at school in preparation for an active shooter","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Vice Presidents and Creative Directors at McCann New York Karsten Jurkschat and Alex Little both came to the US from Australia to work for McCann and had never experienced a shooting drill before. On experiencing one for the first time they realised what would be most effective on film would be to be taken through this by one of the young people who lives in the reality of the daily danger of school shootings. “It captures the raw truth of what children learn at school in preparation for an active shooter,” says Little.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Go Back to Africa harnessed data and the zeitgeist to create a campaign for Black & Abroad which would not only represent a forward facing message but increase brand visibility by 315%. “Go back to Africa is a travel campaign that takes a racial slur and reframes it as a relentlessly optimistic and uplifting call to action for travel to the African continent,” explains Mackenzie.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"If you hear an idea like this three or four times a year then you are having a good year","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The campaign takes tweets using the common racist insult ‘Go back to Africa’, then erases the hateful context and replaces it with uplifting travel imagery targeted directly to a Black millennial audience. It also seeks to address the dominant visual of African vacations tending to feature white people. “If you hear an idea like this three or four times a year then you are having a good year. Part of our responsibility to ourselves and to the world is to not let them go by if we can,” says Mackenzie.
\n\nThe campaign landed as racial tensions in the United States ran high, and though the work was timely, they could not have predicted the way things would develop. Shortly after launching, President Trump recommended that certain female senators of colour go back to where they came from. “I must say we couldn’t have done it at a better time because maybe a month or two after the campaign launch date the political climate was just so insane,” says Martin. “There was so much that reinforced the actual reasoning for us launching the campaign in the first place.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Brazilian agency Africa was approached by UNESCO to recreate heritage sites destroyed by wars and conflicts in an interdisciplinary educational project hosted inside popular game Minecraft. By placing these destroyed monuments within the game – which was used by 150 schools in 30 countries – the project facilitated learning and combated the cultural erasure committed in countries such as Afghanistan and Syria.
\n\n“We needed an idea that could cross borders, geography and mainly generation codes. We needed an idea to bring two people together. We already had a message and we need to reschedule and re-shape the message,” says Gordilho.
\n\nAfrica initially had an idea for a printed campaign but UNESCO wanted something wide reaching that would engage young people in an innovative way. Once the team connected with Minecraft and the Minecraft education platform, they knew this project would be revolutionary enough to reach children on their own terms.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We needed an idea that could cross borders","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Africa trialled what was to become History Blocks with six monuments in a local school but it’s now available open source, featuring hundreds of monuments, to all state schools across the world. “We had Israeli children working with Palestinian children to rebuild a Syrian monument, all in the digital world,” says Vandystadt.
\n\nThe team are proud of the project but give credit to timing and a great coming together of minds across creative and project management – the combination of which brought the idea to life.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The idea was to host a plastic amnesty and then recycle not just Burger King’s but all toys given away by fast food brands into something that could provide joy for children in a more lasting way. The launch film saw a cast of melting characters call upon the public to donate their unwanted toys via instore amnesty bins so they could be recycled and turned into play areas and more.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"To be able to design something that looks so fun and that also does good is incredible","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"As soon as Burger King signed off on the idea, production was accelerated, with the entire campaign from instore signage to character design being worked on simultaneously. “To be able to design something that looks so fun and that also does good is incredible and I think it really gave everybody that push,” says Malivindi.
\n\nThe Meltdown saved 320 tonnes of plastic, delivered 9bn media impressions and prompted the competition to follow suit. It also made recycling feel fun and impactful for BK’s youngest customers.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Anadol and his studio harnessed an advanced type of AI that creates almost realistic outputs based on inputs, meaning that if you have enough data the AI can create images and sounds from that data. He approached Kereselidze who he had worked with on a similar project previously. “We immediately connected and spoke the same language about what art and technology should look like today for 21st century artists and audiences,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"You just step into this universe and suddenly you are surrounded by billions of particles reconstructing themselves","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Anadol’s AI took 130 million images of New York and created a visualisation of machine learning, and a collective memory of New York housed, powered and projected by Artechouse’s systems. “You just step into this universe and suddenly you are surrounded by billions of particles reconstructing themselves, it feels a bit like science fiction but you are stepping inside it,” explains Anadol. “You are really stepping into a machine’s mind and the machine is really dreaming.”
\n\nThis immersive artwork dreams of the city as you stand in a whirlwind of images, both found and created – a difficult and meticulous process which involved almost 65 terabytes of raw data. “It’s the beginning of something new and I hope 100 years from now when we look back this exhibit will go down as pioneering,” says Kereselidze.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Woolsey now has 11 learners on her programme but getting this far has required her to adapt again and again. “It was a long process of trying to find funding, understanding how to present and talk about these things and tell the story of what I’d done over the past couple of years,” she explains.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"My thinking was that if D&AD think this is good with such a high industry standard, could that in turn help the reputation of whatever it is I am trying to do here","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"This unconventional path led Woolsey to define her career strengths early on and she saw how this kind of self-directed apprenticeship could also be a good fit for others. After being asked to speak on a panel by Dezeen on fixing education she realised that her idea had real potential. It also inspired her to enter the D&AD Awards. “My thinking was that if D&AD think this is good with such a high industry standard could that in turn help the reputation of whatever it is I am trying to do here – not in my wildest dreams did I think I would win.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The striking image racked up 8.4bn impressions and was the subject of international press discussion and public debate. “If we try and put a message out in a very flat, boring way it doesn’t work for our brand,” says Machado, revealing that the board is used to his approach and trusted what some might have viewed as risky.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"If we try and put a message out in a very flat, boring way it doesn’t work for our brand","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The company liked the idea for a long time but waited until the burger was fully reworked with clean ingredients so they were in line with the current consumer desire for transparency. The resulting campaign was a combination of creative from a total of three agencies: Publicis, Ingo and David Miami. Machado reveals that he prefers nimble, adaptable, loyal, small to medium-sized agencies and once he has a good relationship with a contact there, that’s what comes first.
\n\nHe also praises the craft and execution of the idea which compels the viewer to watch the burger decay or to spend time with the poster; with the imagery making the unappealing sight of decaying food almost beautiful. This fun, self-deprecating, shareable, headline-making campaign is on brand, creative and will be talked about for decades.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Nike Air Max Graffiti Stores is a project by AKQA São Paulo that saw erased graffiti characters in the city repainted wearing Nike trainers you could only buy through unlocking the purchase with geolocation activation. “It was what Nike called a ‘phygital’ experience,” says Baffa.
\n\nThe project not only created an ongoing platform for exclusive product drops it also helped the people of São Paulo fight back against the governor’s erasure of the city’s much loved street art.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It was a very simple brief but it was also very challenging in the context of the great work Nike has done","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“For many years people engaged with the sneakers and the franchise but we needed something a little bit bigger and we needed to sell sneakers,” explains Baffa. The project landed on ‘Air Max Day’ and had to work on many levels. “It was a very simple brief but it was also very challenging in the context of the great work Nike has done,” says Zandoná. “We had to talk to the sneakerheads but also to the mainstream, drive ecommerce and engage the target [audience].”
\n"}],"themeBackgroundColour":"","slug":"behind-the-work-nike-air-max-graffiti","themeColour":"","themeTextColour":"#000000","title":"Behind the Work: Nike Air Max Graffiti Stores","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-nike-air-max-graffiti.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=f1o-Gj2PqDQ"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"Behind the Work: Nowness – I Want You To Panic","ctaImages":[],"id":"behind-the-work-nowness-i-want-you-to-panic","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/541243_6d0757374c8946398aa4067c5f4317e6.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/541242_449fac4bd51e466fa37e7d52f4e572b1.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/536176_416b9af37d1a43a3a4d9bdcec4109724.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/536175_e117e46f76a642418c30ffe6e5e4f4a7.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/536089_40e7a70230cb495e8da18b3d4b89a952.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/d6/ba/536088_7aa673e64d1740659ab004bdaebb5029.jpg"}],"metaDescription":"","metaKeywords":"Film, videos, Nina Holmgren, craft, Bacon, interview, Lasse Cato, entertainment, impact, direction, I want you to panic, culture,Video, insight, Nowness, Nowness – I Want You To Panic, behind the work","pageCategory":"behind-the-work","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-make-your-own-masters.json","slug":"behind-the-work-make-your-own-masters","pageType":"video","ctaTitle":"Behind the Work: Make Your Own Masters","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/541147_a94632d79b3846e88fbdb9878ee04ce9.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/541146_548498d79a684d33bfc66fc8adc74d07.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/537962_db50575211524603af12d67145d9401e.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/537961_435a0199be4749afb39c6a030aa07767.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/536147_1bae8944815c403db6ac45bf711b0b5a.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/e9/8f/536146_32a7adb9631f496e947b9f8c823165de.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Director Nina Holmgren and Lasse Cato, Head of Communications at Bacon, talk about the Nowness-commissioned film that puts a surreal spin on the frustration of inaction over the climate crisis.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"I Want You to Panic is a short film about climate change, commissioned by the culture platform Nowness as part of its Survival season. In this film we see a family who doesn’t notice that their house is slowly burning down. Shot with a high fashion look in the style of an editorial shoot this film delivers the message while matching the Nowness aesthetic. Set against an affecting speech by Greta Thunberg, the featured family appears to be in a torpor, staring vacantly into space as we hear and see the urgent messages of the activists. As smoke fills the house we are given statistics and facts on the climate emergency.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"I decided I wanted to make a film that was an observation on passivity","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"At the time this film was commissioned, Holmgren felt that Thunberg was particularly overexposed in the media and so she came up with a unique way to include her voice and her message while developing a compelling narrative for the film. “I decided I wanted to make a film that was an observation on passivity,” says the director.
\n\n“I think at first [Nowness] were a bit surprised because it wasn’t how they really imagined my pitch to be but I was so interested in doing an idea where you look at humans instead of the more classic storytelling, where you see ice melting and disasters happening,” says Holmgren.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"This project by Rolyn Lomocso, Senior Researcher at the Design Center of the Philippines, transforms a waste product into a useful commodity. “Our biggest objective is really to help the lives of the farmers here in the Philippines. We want to realise the success of this project,” says Lomosco. “One of the farmers has already shared the story that through our initiative they have seen an increase in their income.”
\n\nWhile the focus is currently on farmers in the Philippines the potential wider impact for other farming communities around the world could be enormous. How much of what we threw away could in fact be used? The product is in the process of being expanded ahead of a big awareness campaign. Mentored by Kwame Taylor-Hayford through the D&AD Impact Council, Lomocso will push Pinyapel forward for further development.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We want more from Pinyapel, not just as a replacement but as a pivotal kind of innovation","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The project is not only sustainable but its path invention provides learnings for those trying to fight the climate emergency the world over. Taylor-Hayford states how ahead of the curve he feels the Design Centre of the Philippines’s approach is and how pleased he is to have been able to help with the development of the brand. “We are further developing Pinyapel and its derivatives, exploring how it can be developed in different contexts aside from just being paper and packaging. It can also be a textile or floorboards and more,” Lomocso reveals. “We want more from Pinyapel, not just as a replacement but as a pivotal kind of innovation.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Lim estimates he and his wife own 40 to 50 chairs in total, which are celebrated in the zine alongside images and items from their family archive. Each issue has a unique element to it; it was once sold in a rubbish bag filled with waste paper in a play on the name, and for another the family recorded and pressed vinyl. This issue’s special feature was a retro self-assembly Airfix-style chair designed by Lim.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"I am the designer of the zine, my wife writes, my daughter occasionally writes, and both the kids contribute photography","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“It’s very organic working with all my loved ones at home, we react to one another’s reactions to the project, it’s like freestyle jamming,” says Lim. “I am the designer of the zine, my wife writes, my daughter occasionally writes, and both the kids contribute photography. After designing I present it back to them.”
\n\nAs his children grow up, he anticipates their roles will diminish but hopes that when they are a bit older they will be able to look back on this Pencil-winning family project with affection and pride.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"In this video, the creatives talk through their unique, collaborative, research-based approach, whereby two teams split off to explore the brief. “Although I don't usually do this, we formed two teams within EUPHRATES to compete for ideas,” says Masahiko Sato. And to their surprise both groups came back with the same idea – to capture the essence of the Olympic spirit through the shadows of athletes in motion.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"I thought the shadows were a great reflection of the truth","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The creative treatment, inspired by Alexander Rodchenko's famous photograph of a Moscow tram, didn’t show a household-name athlete, rather it sought to capture the athlete's “excellence and passion”. The creatives talk about the technical thinking that went into capturing the shadows, but also why shadows were the perfect motif for the brief. “I thought the shadows were a great reflection of the truth,” says Masahiko. “Shadows can't act. That was an interesting discovery.”
\n"}],"themeBackgroundColour":"","slug":"behind-the-work-shadows-as-athletes","themeColour":"","themeTextColour":"#000000","title":"Behind the Work: Shadows as Athletes","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-shadows-as-athletes.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=A8m2uml-GK4"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"Behind the Work: The Illegal Blood Bank","ctaImages":[],"id":"behind-the-work-the-illegal-blood-bank","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/541239_9ef491d09d79438ea584870c1308dbdc.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/541238_ee4b44ba16994417b3b351b5d73f084d.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/538695_fa1abcd273c743f5ba939697f0921abc.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/538694_4cbc32cd04a547d7990ce04a25578b62.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/536075_d0f0f9312fea41a4a5c9a1d62fb62105.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/57/aa/536074_fe68ad17fca74332a3edffdbecfe6fb8.jpg"}],"metaDescription":"","metaKeywords":"videos, pr, Elvis, James Hudson, wood pencil, interview, The Illegal Blood Bank, yellow pencil, media, branding, Illegal Blood Bank,Video, insight, experiential, United Kingdom, Rhys Hughes, LADBible, behind the work","pageCategory":"behind-the-work","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/behind-the-work-moldy-whopper.json","slug":"behind-the-work-moldy-whopper","pageType":"video","ctaTitle":"Behind the Work: Moldy Whopper","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/541197_fdc105703317488d9f0f09aaa9f24c00.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/541196_c42745cbd81746af813098b01948e907.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/536741_52293c20a2a242988309fa41f4f8f520.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/536740_7fff2bc318424833a5a098f6091337d1.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/536061_e18a2bf7d3df4421802e070e88a1f6f9.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/73/74/536060_54333e7efb01408e9f50917d8c30609d.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Creative Director James Hudson and Creative Rhys Hughes from Elvis reveal how they realised a complex and emotive campaign for LADBible. The Illegal Blood Bank facilitated gay and bisexual men to give blood and protest the blanket ban on gay and bisexual men donating blood in the United Kingdom, ultimately leading to consultation on a change in the law.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The team set up a bloodbank which drew and tested the blood of gay and bisexual men – found to be 100% usable – which was then displayed in central London locations including ouside the Houses of Parliament and Carnaby Street.
\n\nInspired by the success of its 2017 Trash Isles campaign, LADBible approached Elvis to come up with a similar project which would utilise its enormous reach in ways that would improve society. The first thing that Hudson and Hughes did was to research what was important to the LADBible audience and found the result was ‘a more equal society’.
\n\n“We fell upon this thing about a quarter of us needing blood and this discriminatory ban and we both agreed that this felt like the right thing to do. That this was something we could and should do something about,” says Hudson.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Why is this illegal?","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Once the client agreed to the campaign the long process of realising began. What the team needed was a medical partner who could collect, store and test the donated blood to an NHS standard. The team not only had to ensure the project reached the most people possible but also that the location, and safety of donors and staff, was protected. They not only achieved this but worked it into the campaign.
\n\n“We were pixelating faces, we were using almost documentary-style bodycams to give that kind of secret camera feeling and all of that contrasted really weirdly with this authentic, clinical side of it,” explains Hughes. “On the one you had a really professional, really legit clinical set up and on the other hand… Why is this illegal? They played off each other quite nicely.”
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Created in partnership with Adobe
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"WGAP is an LA-based sustainable toilet paper manufacturer that donates 50% of its profits to build sanitary toilets in impoverished regions around the world. So far, they have raised $8.5 million Australia dollars, (approx $6m US dollars).
\n\n“There was no product besides these main supermarket products wrapped in plastic… We thought,’ wouldn’t it be interesting to engage kids in play on the toilet?’” says Garbett.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We had so much fun making it we didn’t really think much further than that","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Garbett and de Andrade came up with the idea of wrapping the rolls in tessellating patterns that can be used to create totem-like characters and contacted the brand with an initial set of 24. They ended up pitching to the company over Zoom just a matter of weeks later.
\n\n“We had so much fun making it we didn’t really think much further than that,” says de Andrade of the creative process. The project was a huge success commercially and on social media with a second edition commissioned shortly after the first.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“After some research we found out about this ‘sexism tax’,” explains Max Marohn, one half of the creative director duo who conceived the project. He found out about the issue while listening to the news one morning. “We thought 'why don’t we combine a kind of selling campaign with a creative approach'?”
\n\nMarohn and his creative partner Sebastian Stelzer innovatively combined posters with online activism, influencer power and product placement to connect to traditional political channels. It channeled growing and global calls to address laws that appeared to unfairly penalise women.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It was the right thing to do and the tampon tax was stupid","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Through harnessing the people power of the internet via a social media campaign and combining this with lobbying tactics, the team leveraged a legal grey area to highlight the unfairness of the tax law. A passion project for the agency and a leap of faith from an adventurous client created a campaign that fixed a broken system and made history.
\n\n“The Female Company are just bold people and they said, ‘Yes, we want to make our name big’, so if anything negative had happened it would have been ok… It didn’t because it was the right thing to do and the tampon tax was stupid,” says Stelzer.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Turner Duckworth were approached by the brand after it had seen the award-winning work they had done for Coca Cola. Its sales were down and the brand needed to make some changes. “Our role really was to take that success and turn it into long-term success through design and branding,” says Duckworth. “We took that white can, and the client wanted every single element on that can to be designed, so in the future they could use it in various different branding opportunities.”
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It should have a memory of the past but also makes things look better","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The team were based in London, which meant they looked at Miller Lite through fresh eyes. They began by examining the original brand design. “You have to think about the key elements, the completely unmistakable design elements and really refine those… It should have a memory of the past but also makes things look better, and then you have to be really restrictive about how you use those elements,” says Duckworth.
\n\nAnd Duckworth’s secret to a long and happy business relationship? “It’s very simple, for client relationships to be long lasting you need to produce great work all the time.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Type foundry Family Type has always looked to combine technological advancement with the centuries-old practice of creating typefaces. Universal Sans may seem like a natural progression, but it’s a radical step forward for the industry. By reducing the time and expense associated with commissioning bespoke typefaces, Universal Sans blows open the doors for those who are prohibited by time or financial constraints.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Designing a typeface that had that range of flexibility was quite a challenge. I think other people had tried to make font generators in the past that might have fallen down because they have tried to cover too much of a range.","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"While it was always going to be used internally at Family Type the Universal Sans tool evolved into a product through the collaboration with London design studio Twomuch and the creation of a user-friendly interface which married the designs and the code. “There’s nothing else out there that offers this so I think to see that and bring it to life, just as a whole package, I feel like that’s been quite successful,” says Smith. “I think it opens up a different way to experiment and design with type.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Fresh from the jury’s discussions, Walsh shares some of what the judges are looking for: “There’s some simple principles around originality of idea and creativity but particularly when it comes to the category of digital design it is about how that is applied to get across complex or really important, fundamental ideas, but in a way that resonates and cuts through.”
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"People are still really obsessed with the physical manifestation of digital","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Referencing some of the best works from this year’s crop, Walsh cites Spotify’s Canvas Records by FIG, which aimed to bridge the disconnect between the digital music streaming platform and the physicality of a record store with a pop-up shop featuring records with digitally designed sleeves. “People are still really obsessed with the physical manifestation of digital,” she says.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Created in partnership with Adobe
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“Great design is a very simple idea that’s communicated effectively,” says Stavro. “It’s appropriate, it’s relevant, it’s innovative and it’s beautifully executed, it sounds like a formula and very simple but it’s so complicated to actually do that.”
\n\nEntries that she loved included The Play Edition by Garbett Design for Who Gives a Crap toilet paper, in which individual rolls were decorated with designs that could be combined into a tower, and Studio Sutherl& and Tom Sharp’s self-promotional project The Poetry of It All which saw them create plinths out of the sheets of work. Stavro also really liked Tom Sharp and Accept & Proceed’s All Watched Over for AWO – a beautifully executed data visualisation project.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Great design is a very simple idea that’s communicated effectively","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"What caught her eye were projects that shifted or changed perception of their subject matter such as the Yellow Pencil winner Printed by Parkinson’s by Innocean Worldwide Europe for Charité University Hospital. This saw a 3D printer ‘infected’ with Parkinson’s – using the ECG scans of patients' brains while using objects like a camera or a trowel – to educate non sufferers about life as someone with Parkinson’s disease. “In Yellow Pencils you do see things that challenge perception and perhaps when you push the Yellow into Black they are transformative one way or another in terms of what they do in society,” says Stavro.
\n\nOther favourites were the The Gun Violence History Book by FCB Chicago for the Illinois Council Against Handgun Violence and Dentsu West Japan’s Hair Calligraphy and Painting for NICCA Chemical.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The jury president begins by talking about the fact that some aspects of experiential projects – such as bringing really large crowds together or touching screens en masse – are unlikely to happen again imminently. Vandeven is keen to look at the impact of campaigns. “If you’re going to do a piece of work, especially in public service, we’d like to see that it actually makes changes rather than just doing a piece to let people know about a problem,” she says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"If you fail, what will that do to the next generation of women in the industry?","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Vandeven also highlights the often-overlooked craft aspect of experiential advertising, citing the incredible work on the Grave of Thrones experience by DDB Sydney on the positive side, and on the negative the use of plastics in the otherwise ingenious Glade campaign.
\n\nThe jury president emphasises the importance of a diverse jury and maintaining diversity in the industry at a time when many companies are suffering financially. She points out that when addressing universal topics in advertising, a range of voices can ensure that the work is relatable to all. “There were many times in my career that I was the only female in the room, and being in that position you have a fear of failure and you’re very conscious of the generation behind you,” she explains.” If you fail, what will that do to the next generation of women in the industry?”
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\n"}],"themeBackgroundColour":"","slug":"in-conversation-debbi-vandeven-experiential","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Debbi Vandeven on Experiential","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-debbi-vandeven-experiential.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=us9JYVRO--8"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: Donna Payne on Book Design","ctaImages":[],"id":"in-conversation-donna-payne-book-design","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/541223_4f052aa26aee49e5a41d8904c525f116.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/541222_fae2cf0ddf484a0a9de1bc24947f8216.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/537952_cbf8eec223e841fea08646640212b48a.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/537951_a9f2d70ec67749638d547655467d581a.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/536119_639778b271dc40dba6b1725e095df589.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/9f/b3/536118_c5cd4264a9f1455880c0234fcf10fc01.jpg"}],"metaDescription":"","metaKeywords":"Yellow Pencil, videos, Phoenix Science Press, Penguin Books, Graphite Pencil, interview, John le Carré, Illinois Council Against Handgun Violence, The Gun Violence History Book, Black Pencil, Donna Payne, Wood Pencil,Video, insight, Book Design, Jia Hui","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-atrid-stavro-graphic-design.json","slug":"in-conversation-atrid-stavro-graphic-design","pageType":"video","ctaTitle":"In Conversation: Astrid Stavro on Graphic Design","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/541207_ac52672b0e63430187197e457e2c5926.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/541206_103b557a1305490d9622e2f67f1b2dd6.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/537960_6bb4e4da3c9f494c94fd34208b2850f1.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/537959_ff4488a899754bffa1f2486132ffa5ca.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/536161_3221fdbd5e3f448f9355f7a5c39a335d.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/2a/50/536160_251df994d2194f418b25477bc99044b3.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Book design – already looking to evolve within the digital landscape – is also seeing a renaissance at a time when physical objects mean more than ever. Here, Creative Director at Faber & Faber and the Jury President for Book Design, talks to Donal Keenan, Director of Awards & Operations at D&AD, about what has changed in book design this year.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“Last year it was very much about art books and high production values, it felt very serious. It was nice to see how much humour came through and some of the concepts in the work this year,” says Payne of the judging process. “It felt more international and pushed the boundaries conceptually and it was just a real pleasure.”
\n\nWork that stood out this time was the re-issue of John le Carré’s early works by Penguin Books and the Yellow Pencil-winning history of botanical illustration Jia Hui by Nanjing Han Qing Tang Design and Phoenix Science Press. “Every turn of the page was a delight and it took what could have been a dry, serious subject, which was the history of botanical art, and turned it into something fresh and original,” says Payne.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It couldn’t have been anything other than a book and that made it quite outstanding in its category","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"It was The Gun Violence History Book by FCB Chicago for the Illinois Council Against Handgun Violence however, that won the first Black Pencil in book design in 40 years. The ‘book that stopped a bullet’ is huge, weighty and shot through with a bullet, and as a document of gun violence in America it carries a powerful message.
\n\n“It’s literally called the “book that stopped a bullet”, and even though the content was very strong on that title there was definitely something about the physicality of it. It couldn’t have been anything other than a book and that made it quite outstanding in its category,” says Payne.
\n\nThe conversation also covers digital-only publishing in a pandemic and how that will inform the future of the category and the future of book design.
\n"}],"themeBackgroundColour":"","slug":"in-conversation-donna-payne-book-design","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Donna Payne on Book Design","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-donna-payne-book-design.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=xpZeVoltFnk"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: Fura Johannesdottir on Digital Design","ctaImages":[],"id":"in-conversation-fura-johannesdottir-digital-design","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/541193_8afea5ff9c7d43e7beade537c001b002.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/541192_ccd2d7aea77d4aa5a28d385c223c5b84.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/539024_0dc737e1bf824bb7a35157c5ffaba485.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/539023_18073ddd49b04cb3812cf8f3e4e3479f.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/536137_790e9839dd4c47669844e683c70ef43c.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/4a/eb/536136_28df1491bda24e41a003dd5efcd6bf67.jpg"}],"metaDescription":"","metaKeywords":"videos, web design,Video, insight, digital, Fura Johannesdottir, interview, in conversation, design, digital design","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-tosh-hall-branding.json","slug":"in-conversation-tosh-hall-branding","pageType":"video","ctaTitle":"In Conversation: Tosh Hall on Branding","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/541229_539d7b45092f470391b707e9818acd99.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/541228_aa4b80b7f3264a739a9c6198bc0decb5.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/537935_e24aa7a4196a408994c8bd38f073b1ee.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/537934_8208c227e551423db625f85d50f36168.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/536145_3d6e885f8c814bf4871f356647aff0f6.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/536144_896e9f3184b94ecdbba827de951cd5c7.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Fura Johannesdottir, Chief Design Officer at Huge and D&AD Digital Design Judge, shares the year’s best technology-based design, service design and digital products, discussing the meaning of excellence in digital design and the trends that are shaping the discipline.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Johannesdottir praises the standard she’s seen in the digital design category this year. “Digital is the driver and change is happening faster and faster,” she says. “And when we are working with our clients we need to be at the forefront of tech and what that is going to do in terms of changing human behaviour.”
\n\nCurrently, she is most interested in work that marries digital and the physical space. As it stands, the discipline includes gaming and apps, social advertising, campaign websites, integrated digital campaigns, the use of influencers and much more.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"This acceleration is forcing us to change","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The conversation turns to the impact of Covid-19 and how it has forced some brands to catch up digitally, meaning small brands are now going direct to consumers to survive. “I think it has really accelerated a lot of this stuff not only for people going into e-commerce but also just the way we live… This acceleration is forcing us to change,” says Johannesdottir.
\n\nSpeaking about the importance of agility and speed in digital design, Johannesdottir explains that the power of the discipline comes when combined with data and AI, but creatives should be wary of the danger of bias. “I think we need to be careful when we go into AI. I think it could be very positive if we manage to get the bias out of the system. It will help us move into a more positive world where we will be more diverse and more equal,” she adds.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Adobe Content & Community Manager Emma Lextrait
\nOriginally broadcast on Adobe Live, the community where creatives share ideas online.
The Jury President for Packaging Design and Founding Creative Partner at Here Design on the physical object in a digital world. Packaging is going through an evolution spurred on by contributing factors such as the climate emergency. Here, Emily Gosling, Editor-at-Large at Elephant Magazine got the inside account of the judging process.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“It was very nice to have human contact, albeit slightly distanced,” says Marlow, Founding Creative Partner at Here Design and Jury President for Packaging Design, on judging one of the few categories that were reviewed in person. “When you’re judging or looking at packaging it’s the experience of that object which means you need to be near it to fully understand it.”
\n\nMarlow speaks about how people have missed the tactility of objects and how buying online is fine but not the same as getting to handle the packaging and products in person. She also speaks of how brands could embrace the digital more in packaging design.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"You can’t just expect that things are going to end up on a shelf and have the same impact anymore","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“Brands could embrace that idea of experience of the object and through digital and through other channels, this is quite an interesting time and I think things will change… You can’t just expect that things are going to end up on a shelf and have the same impact anymore,” Marlow explains, saying it’s now about everything from the writing and the packaging itself to the digital side.
\n\nSustainability was lacking this year which came as a disappointing surprise to Marlow. “It’s the responsibility of designers, specifically packaging designers to think about how we can create change environmentally and it’s shocking really to think we have come this far and there is so little of that going on.”
\n"}],"themeBackgroundColour":"","slug":"in-conversation-kate-marlow-packaging-design","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Kate Marlow on Packaging Design","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-kate-marlow-packaging-design.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=kGBvpjpUmb4"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: Kia Moses on Direction","ctaImages":[],"id":"in-conversation-kia-moses-direction","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/541191_7b07cb600a2f4ba190025cc67a4e8e98.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/541190_52667f35f28f4bc7bd6a248bbc863eca.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/536849_1d96da1da423437c80fd8be1a51ca205.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/536848_b6063dc627ce4a62a60160f92bb7cfb2.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/536097_1cf767b803794a478bc4e750da0bc274.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/85/536096_aa2e27e682e34cdbb3413323cb967184.jpg"}],"metaDescription":"","metaKeywords":"advertising, Yellow Pencil, videos, craft, Graphite Pencil, interview, TBWA, music video, music videos, Wood Pencil,Video, insight, film, AirPods – Bounce, Apple, in conversation, Kia Moses, TBWA\\Media Arts Lab, Direction","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-abbie-walsh-digital-design.json","slug":"in-conversation-abbie-walsh-digital-design","pageType":"video","ctaTitle":"In Conversation: Abbie Walsh on Digital Design","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/541215_1e22ec2ca37240a2bbcd8d991fa65bbc.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/541214_e6ba1147651748dd89e11d62eb3a8d42.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/540480_764b25c348184d2eb224824731cde23a.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/540479_fcea357058584a859f357aca44c64346.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/536101_fd68caa1e282466181eb4c533a8f15e1.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/98/07/536100_5abda3a27cbd4e939d49b97a5d9a403f.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Screenwriter, Film Director, Co-Owner & Chief Creative Officer of TCP Those Creative People and D&AD Direction judge, Kia Moses, shares insights from the judging process, her favourite projects from this year’s awards, and how to achieve craft excellence in the Direction Category.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The judge reveals how the principles for analysing creative excellence are useful measures to apply to any creative work. Turning her attention to this year’s standout pieces, she says that beyond the emotive films of togetherness, what caught her eye was AirPods – Bounce from Apple / TBWA\\Media Arts Lab. “What is powerful about an ad like Apple AirPods Bounce is that it actually embodies the freedom that we’re all craving right now,” she says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We came together for a great, friendly debate about the work from around the world","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Moses also commends the broad range of perspectives on the judging panel in terms of its global representation and also the split between male and female judges, and the range of years of experience. “We came together for a great, friendly debate about the work from around the world, and it was amazing because at the end of the day we just chose the work that was the best, regardless of who or where it came from.”
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Adobe Content & Community Manager Emma Lextrait
\nOriginally broadcast on Adobe Live, the community where creatives share ideas online.
D&AD Jury President and Kin Co-Founder, Kwame Taylor-Hayford discusses the value of creativity in solving social, environmental and economic problems. He shares what he looks for in the judging process and discusses advertising in the age of social responsibility.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"For Taylor-Hayford, winning a Yellow Pencil is not only about creative and craft, the work needs to have purpose. “We think about a few areas that make the work truly groundbreaking. We think a lot about how the work is impacting the issue that it set out to impact, we think a lot about how the work is fit for purpose. Is it achieving what it was designed to achieve and there are a few other key criteria?”
\n\nHe says that at least 50% of the jury has to agree that the work has achieved certain KPIs or impact. As the deliberations go on, they elevate the conversation from a Wood Pencil to a Graphite, to the iconic Yellow Pencil. The White and the more specifically the Black Pencils are reserved for work that is truly exceptional and has left its mark on the world. At this level a good idea on its own isn’t enough – a campaign has to have material impact.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Some of the projects led to legislation and changes in how governments operate","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“There’s an impact around the awareness it generates around a certain issue, but then that scale slides and you see that some of the projects led to deliberate behaviour change, some of the projects led to significant economic outcomes and some of the projects led to legislation and changes in how governments operate,” he explains.
\n\nThere are many lessons to be learned from this enlightening conversation about what impact means today, from defining and maintaining goals of social change to navigating algorithms.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Originally broadcast on Adobe Live, the community where creatives share ideas online.
\n"}],"themeBackgroundColour":"","slug":"in-conversation-kwame-taylor-hayford-impact","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Kwame Taylor-Hayford on Impact","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-kwame-taylor-hayford-impact.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=nVTltk3M9I4"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: Maurizio Von Trapp on Music Videos","ctaImages":[],"id":"in-conversation-maurizio-von-trapp-music-vidoes","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/541175_d14eb3f4669d4eaab823747c169ee5b5.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/541174_e927010163444de79b7b31392ae84aee.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/540065_7289795bc60a4046ac710d338c5eddd2.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/540064_b44b3233a5d44e15811f6f74af334eae.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/536059_d302ea1faabc4581a626b4591555bc55.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/75/1d/536058_f2fe3d4ac4c04a8a9e383ae8afa5e68b.jpg"}],"metaDescription":"","metaKeywords":"advertising, Yellow Pencil, videos, craft, Maurizio Von Trapp, Graphite Pencil, interview, Eden, entertainment, music video, Zhang + Knight, music videos, Wood Pencil,Video, insight, film, Projector, in conversation","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-pj-pereira-entertainment.json","slug":"in-conversation-pj-pereira-entertainment","pageType":"video","ctaTitle":"In Conversation: PJ Pereira on Entertainment","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/541233_e8cf4061e8c24c889fdc0418dda51190.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/541232_9fae0c21956941caae99b6ef3b5b48e4.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536091_64f5019a543b44f88e61cc3b070195d3.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536090_1ad46bb7bcc54ecd821f5708d9affedc.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536071_b499862af44d44de9dd39ca4193ffa59.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536070_7600f50ccd77442b874bb3d0867d67da.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Maurizio Von Trapp, Head of Music at Academy Films and D&AD Music Video Jury President, shares the boundary-breaking music videos of the past year, discusses the trends shaping this moving medium, beloved by creatives, crafts people and designers alike, and answers your questions on music video mastery.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“Music video is much freer, you don’t have to abide by narrative rules, you can go all out and I think that’s the most wonderful thing,” Von Trapp says of his chosen medium. If you’ve got no experience then start at the bottom, he advises. Obviously not all music videos are small budget and the extremes of the industry require different approaches. “The higher the budget gets, when you are dealing with a big artist like Béyonce or Rihanna, it’s their world that you’re coming into and there’s always a sense that ‘I am here to serve the music’,” says Von Trapp.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It’s really exciting when you’re part of shaping what an artist’s identity feels like","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The flipside is when you are dealing with a new artist who needs to create an impression and communicate the identity they will be known for into the foreseeable future. It’s all about doing justice to the music. “It’s really exciting when you’re part of shaping what an artist’s identity feels like.”
\n\nThis years’ criteria were: is it inspiring, brilliantly executed and fit for purpose? Cautionary words from Von Trapp warn against overthinking and underestimating how complicated it can be to achieve simplicity. Zhang + Knight’s video for Eden’s Projector was highly ranked by judges for how the production design, lighting, costume and mood seamlessly gel to create a deceptively simple result. This is an example of what talent can do with a relatively small budget.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Adobe Content & Community Manager Emma Lextrait
\nOriginally broadcast on Adobe Live, the community where creatives share ideas online.
Mónica Moro, D&AD Press & Outdoor Jury President and Chief Creative Officer of McCann Spain, discusses the year’s best press and poster advertising, the latest trends and technologies impacting the category, and how to make award-winning work.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Moro takes a human approach to creative work, which she has tapped further into in the wake of Covid-19. “For me it is something that is natural. I don’t think that brands are here just to sell things…We care about the brands that care about us,” she says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"We have to act, not react","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The jury president’s Black Pencil pick for Press & Outdoor is Moldy Whopper by INGO Stockholm, Stockholm, David Miami and Publicis Worldwide for the idea, the execution and the level of craft. She also loves the Go Back to Africa campaign by FBC/SIX for its use of AI and its cleverness.
\n\nComing out of a period of pitching on Zoom and the industry existing on survival mode, Moro doesn’t want ambitions to shrink with budgets as the world navigates the impact of coronavirus. “We have to act, not react,” she notes.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Adobe Content & Community Manager Emma Lextrait
\nOriginally broadcast on Adobe Live, the community where creatives share ideas online.
The Jury President for Magazine & Newspaper Design shares his thoughts on the issues facing the category in 2020 with Design Week Editor Tom Banks. Judged in person, this category is in the midst of the changes brought to bear in the publishing industry since much of it began to migrate online in the wake of the pandemic.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Burgoyne praises the design and editorial teams at the New York Times for their consistency and belief in design, and he commends the inventiveness and attention to detail of local authority newsletter Dínamo, produced for the Spanish city of Murcia by Rubio y del Amo. These projects, sitting at opposite ends of the spectrum in terms of budget, both caught his eye.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Magazines and publishing are going through a tough time but we’ve never had so many exciting independent magazine titles","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Yellow Pencil-winners Buffalo and The 1619 Project by the New York Times won big with the jury for completely different reasons. “Buffalo gleefully plays around with form and format. They entered several issues and it just felt like: here’s a team having a huge amount of fun and really knows its industry inside out, which enables them to play with stuff while at the same time maintaining the same kind of quality,” enthuses Burgoyne.
\n\nFor those graduating and starting out in newspaper and magazine design he had this advice: “Magazines and publishing are going through a tough time but we’ve never had so many exciting independent magazine titles than we have right now, in a way magazines are stronger than they ever were.”
\n"}],"themeBackgroundColour":"","slug":"in-conversation-patrick-burgoyne-magazine-and-newspaper-design","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Patrick Burgoyne on Magazine & Newspaper Design","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-patrick-burgoyne-magazine-and-newspaper-design.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=edHDm8Td-6Y"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: PJ Pereira on Entertainment","ctaImages":[],"id":"in-conversation-pj-pereira-entertainment","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/541233_e8cf4061e8c24c889fdc0418dda51190.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/541232_9fae0c21956941caae99b6ef3b5b48e4.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536091_64f5019a543b44f88e61cc3b070195d3.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536090_1ad46bb7bcc54ecd821f5708d9affedc.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536071_b499862af44d44de9dd39ca4193ffa59.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/ed/99/536070_7600f50ccd77442b874bb3d0867d67da.jpg"}],"metaDescription":"","metaKeywords":"advertising, Yellow Pencil, videos, Experiential, craft, Graphite Pencil,\"Video, interview, Pereira O’Dell, entertainment, PJ Pereira, Press, Wood Pencil, insight, Mother London, in conversation, IKEA, Mother","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-patrick-burgoyne-magazine-and-newspaper-design.json","slug":"in-conversation-patrick-burgoyne-magazine-and-newspaper-design","pageType":"video","ctaTitle":"In Conversation: Patrick Burgoyne on Magazine & Newspaper Design","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/541235_f3cbbfe39bbe4d08aeb24ca6c8556843.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/541234_8c737707b6b94ae58c4a3b482f06eb5e.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/539007_6ee9498d335d4e30b1d5c02c20e20f84.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/539006_18b2450fb56d404c855fede30198530a.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/536079_7a37237114094609b0f4a8879e7182b8.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/12/15/536078_27980951babf49da80fe5ecc4d9bbdd3.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"PJ Pereira, Creative Chairman at Pereira O’Dell and Jury President of Entertainment for the D&AD Awards, reviews the year’s best storytelling, from fiction films to immersive experiences, shares insights from D&AD judging and reveals branded content trends to inspire your creativity.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Pereira insisted on leaving definitions outside the judging process when it came to creating strict rules about branded content. “Being a new category in a fast moving world like ours at a stage when the world is changing faster than ever it’s tempting to jump quickly to try and to define and establish the rules, and I think that can lead to the wrong approach,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"For me branded entertainment is a great use of client money and the consumers’ time","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Mentioning Silence the Critics by Mother for IKEA, he highlights that this is a category that is restricted by definition. Pereira brings this ad into the Entertainment category as it is so compelling that he would pay on-demand to watch it. “It drinks from music and from entertainment a lot and in the end when you’re watching thousands of things that feels like a piece of entertainment,” he says. “For me branded entertainment is a great use of client money and the consumers’ time.”
\n\nWhen pressed about trends Pereira reveals he thinks they are to be avoided and that juries should be ahead of the curve. “The responsibility that we have of learning on behalf of the industry is the ability to spot the work that is so good it may spark a trend,” he says. He adds that this doesn’t lie in the hands of creatives but with the audience and the brands who at the moment are reacting to unprecedented times.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Jamie Madge Co-Editor of Shots
\nCreated in partnership with Adobe
Apple took the top prize not once, but twice, for Direction at the D&AD Awards. Hogging the spotlight or true creative brilliance? Jury President, Sara Dunlop, shares the inside scoop and answers your burning questions on what it takes to sweep the judges clean off their feet.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Dunlop says she’s attracted to work with a purpose. “I’ve always been attracted to work that has a bit of a social conscience, sometimes that balance in advertising is a difficult one to strike,” she says. Her favourite submissions include Hope is Power by Uncommon for The Guardian, Pulse Films’ Wise Words for Comic Relief, and BBDO’s Point of View for Sandy Hook Promise for its narrative, performances and its subversion of the back to school genre.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"I’ve always been attracted to work that has a bit of a social conscience","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"One of Dunlop’s absolute favourites this year was The Underdogs by Smuggler, a filmic ad that tells the story of a diverse work team preparing for a pitch that seamlessly integrates the full range of Apple products from the Apple Watch to the iPad Pro. The level of craft, the casting, the use of narrative and the showcasing of the product were simply on another level, according to the director.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Hosted by Adobe Content & Community Manager Emma Lextrait
\nOriginally broadcast on Adobe Live, the community where creatives share ideas online.
D&AD Jury President and Salon Alpin Director Simon Griesser discusses the year's Pencil-winning animation, components of craft excellence and factors influencing the future of the discipline with Le Cube partner and Final Frontier Executive Producer Gustavo Karam.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"In this candid conversation Griesser reveals the pluses and minuses of heading up a jury over Zoom and how the process measured up to his expectations. He discusses the democratising effect of working over video conference, gender balance on the jury, and the intimacy of seeing into your co-workers' homes. “You can reach people much faster than before… People are at your fingertips,” Griesser explains.
\n\nKaram then delves into making work while negotiating the impact of Covid-19, asking Griesser about the role of animation during a tricky time for physical shoots, and how the crisis has facilitated a more international approach to recruiting artists and freelancers.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"This could open doors for artists who aren’t willing or have no possibility of relocating","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"“Since many productions had to be put on hold and people had to work from home, production companies considered hiring artists from completely different places,” he says. “This could open doors for artists who aren’t willing or have no possibility of relocating.\"
\n\nHe also sheds light on the jury's selection criteria and supplies tips on how to secure a coveted Black Pencil. Highlighting labour, storytelling and that must-see X-factor, Griesser breaks down how the jury made their decisions, and gives great insight into what those submitting work should keep in mind.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Created in partnership with Adobe
\n"}],"themeBackgroundColour":"","slug":"in-conversation-simon-griesser-animation","themeColour":"","themeTextColour":"#000000","title":"In Conversation: Simon Griesser on Animation","subtitle":null,"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-simon-griesser-animation.json","youtubeVideoUrl":"https://www.youtube.com/watch?v=18tEl7GZzFo"},{"ctaDoNotShowImage":false,"ctaQuote":"","ctaLinkText":"watch video","ctaQuoteSubtitle":"","ctaSubtitle":"","ctaTitle":"In Conversation: Tosh Hall on Branding","ctaImages":[],"id":"in-conversation-tosh-hall-branding","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/541229_539d7b45092f470391b707e9818acd99.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/541228_aa4b80b7f3264a739a9c6198bc0decb5.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/537935_e24aa7a4196a408994c8bd38f073b1ee.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/537934_8208c227e551423db625f85d50f36168.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/536145_3d6e885f8c814bf4871f356647aff0f6.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1d/9f/536144_896e9f3184b94ecdbba827de951cd5c7.jpg"}],"metaDescription":"","metaKeywords":"advertising, Yellow Pencil, videos, craft, New Zealand, Tosh Hall, Graphite Pencil, Channel, interview, writing, branding, Jones Knowles Ritchie, 4creative, Wood Pencil,Video, insight, in conversation, Complaints Welcome, We Compost, Seachange","pageCategory":"in-conversation","pageTitle":null,"pageType":"video","relatedEditorial":{"url":"https://www.dandad.org/api/v1/annual/page/in-conversation-sara-dunlop-direction.json","slug":"in-conversation-sara-dunlop-direction","pageType":"video","ctaTitle":"In Conversation: Sara Dunlop on Direction","ctaLinkText":"watch video","ctaSubtitle":"","metaDescription":"","images":[{"label":"square_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/541231_d3031ae2259548aaa846ce8d196c9f65.jpg"},{"label":"square_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/541230_d81c79a0dce848d89c4d66e4aaf426c3.jpg"},{"label":"detail_large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/538586_6019bba8cb06472fac34f125a02b4283.jpg"},{"label":"detail_small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/538585_df9148b9d2604c92b5656a302fd89f15.jpg"},{"label":"large","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/536129_f4fda7ff6dd8471f9903d6db908aa2ec.jpg"},{"label":"small","url":"https://be54396e8bd72af92409-03005553b1375ef1efc4f384a5c102cb.ssl.cf3.rackcdn.com/1b/11/536128_4a60cc1bdca4480999bcd7f5c6631673.jpg"}],"themeColour":"","themeTextColour":"#000000","themeBackgroundColour":""},"plugins":[{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":1,"body":"Tosh Hall, Global Chief Creative Officer at Jones Knowles Ritchie and D&AD Branding Jury President, looks at the year in branding and shares insights into the judging process for the tough fight for a Yellow Pencil.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"As an increasing number of campaigns seek to effect change and go beyond public affiliation with causes, what is branding work that does good? Hall says the answer lies in breaking new ground and acting with purpose. Considering this year’s crop, the CCO says, “I think the thing that’s interesting is more emphasis on campaign branding, the moving image and the newer underrepresented categories.“
\n\nHall’s favourite work from this year includes Channel 4’s Complaints Welcome ident by 4creative, which takes the brand voice and uses across multiple channels. The jury also liked its humour and cultural relevance in terms of trolling and online bullying.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It became easy to see what rose to the top","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"He also notes branding on small under-the-radar brands such as We Compost in New Zealand. We Compost—Feed the Worms by Seachange took a very unglamorous company and created a worm-like font and lush green branding.
\n\n“It was a brand refresh and quite small and maybe didn’t have that much reach… but we also thought it’s good to recognise small and interesting things that are happening.”
\n\nOn the judging process itself he says, “By the end we had done such good work defining the Wood and Graphite Pencils it became easy to see what rose to the top.”
\n\nHall also says that there was some soul searching to do in the wake of Covid-19, but believes one upside is that the talent pool for companies is now very international, with distance being no barrier to working with someone.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Host: Laura Swinton, editor-in-chief of Little Black Book
\nCreated in partnership with Adobe
Yasu Sasaki, Head of Digital Creative and Executive Creative Director at Dentsu Inc. and Digital jury president, discusses brilliant work in the digital category, his favourite digital campaigns, and shares big-picture thinking on navigating the tricky terrain of the digital landscape.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"According to Yasu, digital presents opportunities to “upgrade humanity”. He says, “As we know, digital has difficult aspects, on social media people are saying negative things or sending hate messages and people are afraid about data. They don’t want to give data to companies.”
\n\nBy combining great ideas, proper ethics and good strategies digital can be of huge benefit to society, says Yasu. He highlights the Go Back to Africa campaign by FCB/SIX in Canada which turned racist tweets on their head. “Using digital each individual can have the power to speak to society,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"Using digital each individual can have the power to speak to society","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The jury president also talks about the changing, more intimate relationship between companies and their consumers, who now have greater oversight and a stronger voice in the marketplace. He also explains how he likes to see a combination of digital technology and emotional connection, and cites the Burger King ‘Stevenage Challenge’ campaign by David. This saw BK sponsor unsuccessful UK football team Stevenage, branding their shirts and then encouraging FIFA players to make them the most successful team in the game.
\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":5,"body":"Created in partnership with Adobe
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Fitzgerald chooses the Film4 Idents by Saatchi & Saatchi London for Direct Line, which sees an insurance call centre inundated with plots from films such as Die Hard and Fight Club, in what she sees as a smart buy and strategy. “Creating content specific to each movie and tying it back to the product and these iconic scenes that people connected to was really fresh and I think it sent a bigger message from this brand too,” she says, adding that if they can cover a T-rex taking a bite out of a jeep they can probably cover her Honda.
\n\nLueck chose the hilarious and effective The Punishing Signal by FCB India for the Mumbai Police. Anyone who has visited India will be aware of the horn honking on busy roads and Mumbai FCB India had the ingenious idea of placing a system at junctions in the city which would set the light to red if the honking became too loud. The system has now been rolled out across the city. “They got right into the heart of the problem in a very direct way and it’s such a simple idea, there was no innovation that made it possible it was just creative thinking,” says Sinclair, who also loved the project.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It’s not only a creative use of technology, it’s also an important use of technology","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Project Understood, created by FCB Canada together with the Canadian Down Syndrome Society and Google, used AI to collect and analyse the voices of people with Down Syndrome to ensure they could use the Google Assistant. Project Understood was chosen by Siqueira as it was initiated as a solution to a flaw - the assistant should have been programmed to understand this vulnerable section of the community. “It’s not only a creative use of technology, it’s also an important use of technology,” she explains.
\n\nSinclair chose Go Back to Africa Campaign for Black & Abroad by FCB/SIX, which used AI to pull racist insults from the internet, take them out of context and reposition them alongside aspirational images of Black tourists in Africa, turning the offensive material on its head. “What gave it the extra edge was using AI technology to pool Black travellers from across the web and show that this is a reality and it’s not being represented,” she explains.
\n\nSnow chose History Blocks by UNESCO and also gave special mention to Christmas ad Silence the Critics by Mother for IKEA for its representation and its clever use of music which plays on the image of grime in the UK. “I absolutely adore this ad,” she says. “This touched on so many amazing cultural insights.”
\n\nOther topics touched on by the panel include the power of humour, brand humility and how not to piggyback on activism.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Halfin’s choice is The Underdogs by Smuggler for Apple. This humorous film tells the story of a work team coming up with a pitch using a suite of Apple products that are seamlessly integrated into the narrative of the ad. “It’s almost perfectly executed in terms of all the things that put it together, if it’s the casting, the cinematography, the genre, the editing, the production design, the music the whole thing comes together so beautifully… It’s very important sometimes not to feel the effort of crafting something,” she says of her choice.
\n\nFacebook’s era-defining Never Lost by Droga5 is Allen’s pick, and she cites the editing and pacing of the ad which uses found footage from the last few months of the pandemic in the UK together with the Kate Tempest track People’s Faces in a truly magical way. “As soon as you put the sound on and that track… It’s just incredible,” she explains. “It’s really emotional and I think it’s just really now and if we’re talking about craft and sound design without that track it’s just not the same thing.”
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"For us, this is probably the most amazing casting ever done","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"All That We Share–Connected by TV2 Creative for Danish TV2 is put forward by Perez for its phenomenal casting of real people with genuine connections to one another. In the clip we see a man meeting the person who bought his childhood home and then a series of chance connections including two refugee couples – one from Syria and one who came to Denmark during the Second World War. “For us, this is probably the most amazing casting ever done,” he says.
\n\nFerrero picks Crocodile Inside – a cinematic ad by BETC Paris for Lacoste that sees a couple’s argument tear their apartment building in half – for its amazing VFX, set and production design. Marmion chose Bounce by TBWA Media Arts Lab for Apple, who avoided VFX to build a set with in-built bounce for this fun ad for Airpods. “It’s the will of making as much as possible on camera because nowadays you can achieve pretty much anything in VFX but they built a set that meant that could achieve all the effects on camera,” she explains.
\n\nOwen-Lloyd picks An Open Mind is The Best Look by Droga5 for Nordstrom for its uniqueness, surprising offbeat feel and its inclusiveness. “It’s not a classic advertising piece. We thought it was beautiful that it was wrapped around a poem… The poem, the sound design, the pauses.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Una’s pick is the #moviepostermovie campaign by Pereira O’Dell for Adobe, featuring British actress Florence Pugh as a spoiled influencer in a pre-digital world. “It’s a piece of entertainment in its own right. There’s no product placement in it and it’s a very risky film for them to make because there isn’t branding throughout. It feels like a very pure piece of film,” she says. “We want to see more work like this.”
\n\nVon Trapp chose Heroist by Stink Films for Apparat, a dystopian music video which moves rapidly through what could be either a narrative or a series of interconnected still images. Praising the cast, editing and costume design, he felt it paired perfectly with the track it was created for. “We’re looking at craft if it’s fit for purpose… Is there something fresh and new looking at this, there was this whole world that had been created with what I imagine to be a lot of budget restrictions,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"The piece of entertainment that gets you to pay attention and drop what you’re doing – that's a good piece of entertainment","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Generation Lockdown for March of Our Lives by McCann New York draws out the absurdity of the sadly real need for school shooter drills, by having a child run adults through the steps to be taken in the event of an active shooter event. “The piece of entertainment that gets you to pay attention and drop what you’re doing – that's a good piece of entertainment,” says Smith.
\n\nBehnke chose History Blocks by Africa For UNESCO which used Minecraft to rebuild monuments destroyed in conflict in their digital space and utilised educational tools within the game to teach younger generations about their lost heritage. “This part of history is safe, and it will grow and will be protected,” she notes. “20 or 30 years ago we couldn’t have done this and what I find impressive is the gamification of this.”
\n\nFinal Form by Ninja Tune for Sampa the Great is chosen by Von Trapp who loves this simple video, which was shot by a Black director in the country Sampa grew up in, Zambia. He cites the palpable authenticity of this video as being down to diversity and honesty in its making.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Yarza chose The Most Challenging Pingpong Table by TBWA\\Hakuhodo for Japan’s Para Ping Pong Table Tennis Association, which saw Japanese Para Table Tennis players help redesign a table from their perspective. The table changes shape to level the playing field. “I think this project is relevant today and it shows the struggle of other people, in this case it’s disabled athletes,” she says. “This project tried to visualise other people’s struggles.” The campaign created national media attention in Japan and drove up interest in para sports by 92%.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"I found myself looking at it and just thinking ‘how?’","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"The JHF Table by Studio OPA, a lightweight, affordable, large metal table was chosen by Knox who fell in love with it immediately for its beauty, quality and efficiency. “I found myself looking at it and just thinking ‘how?’” he says. “I thought wow that’s really good design thinking taken to a new level.”
\n\nWastell chose Recorder by Google, a recording app which recognises sounds, transcribes speech in real time and is searchable via keywords. For her it’s bang on trend in terms of speech activation. “What it’s done a good job of is balancing the polishing and the craft and actually making something useful, usable and enjoyable to use,” she notes.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"“Design transformation is using design thinking to question a business inside and out including the business, the service, the operations and the customer journey,” explains Tapaki.
\n\nSeabrook selects the transformation of Formula E racing and Attack Mode, which utilises AR and interactive features meaning if drivers follow lights on the track, they gain speed and cars can change colour – separating Formula E from Formula 1 and bringing in new audiences. “There’s this fundamental concept of esports inspiring real sports in order to attract a younger audience and in this case it’s so uniquely on brand to do this because of the digital nature of the sport itself,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"The tech itself is mind-blowing","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Hulme highlights the Vegi-Bus, an e-commerce platform that connects farmers with consumers and businesses in Japan to sell produce using a bus delivery system that is cost efficient and environmentally conscious. “We’re at an interesting point socially, where people are incredibly interested in where their food comes from so provenance is not about fine wines anymore it’s also about the cucumber that you buy in the corner store,” he says.
\n\nTapaki chooses to speak about the wonderful Avatar Robot Café by ADR Creative One for Diverse Avatar Working Network, which enabled ALS sufferers and severely disabled people to work in a café by controlling robot avatars. The project is being rolled out further and has meant some participants now have employment they never thought they would have access to. “The tech itself is mind-blowing,” she says.” And in Covid-19 this could be expanded further, for example for elderly people who can’t go out.”
\n\nDesign transformation could come to the fore over the coming months as businesses large and small adapt to our changing marketplace.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"The expert panel, moderated by Rob Alderson, reveal their personal favourite impact campaigns and explain their choices. From unforeseen consequences to data transparency, and from moving the needle of change to empowering consumers.
\n\nTaylor-Hayford speaks about the Volvo Lifesaver campaign by Ogilvy Social Lab, which saw volunteer drivers trained to resuscitate people who’d suffered a heart attack – so when an ambulance can’t make it in time a signal is sent to the nearest qualified Volvo driver, who can attend the scene and try to help. “It's a compelling piece of work from a brand that has hung its hat on safety. In this advert they have taken the safety you experience in a Volvo and extended it way beyond,” he says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It's a compelling piece of work from a brand that has hung its hat on safety","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"It was Mr Humfreez by TBWA\\New Zealand that caught Prakash’s attention for its sustainable, simple and effective design and message. The wool and wooden sheep alerts children and parents to dangerous levels of damp and cold that can cause mould – an issue that causes many child deaths in New Zealand. “It’s taking unglamorous things and taking this aspect of narrative and storytelling that design tends to do to make this problem really compelling,” she explains.
\n\nDrew gives special mention to the Carrefour Act for Food campaign by Publicis which saw the French supermarket restructure and redirect its business to be more profitable, sustainable and reach into the economic ecosystem it exists in to do good. “You can be a force for good and a force for growth in the world, you don’t need to choose,”she reasons.
\n\nThe panel also cite First Shave by Grey Canada for Gillett for its beautiful handling of trans visibility and for taking an initial financial hit in order to stand up for what is right, eventually seeing results.
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Harriet Ferguson, Senior Designer at Pearlfisher and a tutor at Falmouth University, chose Kininvie by Here Design for William Grant & Sons for its sustainable approach and use of colour, which goes against the grain for a whiskey brand. “You can flat-pack it down and recycle it afterwards,” she says. “If you are aiming for a really high Pencil you need to be thinking about sustainability. It should be part of our designing now.”
\n\nRebecca Magnus, freelance senior brand writer and strategist, chose Tom Sharp and Accept & Proceeds’ All Watched Over for AWO, a data rights legal firm, for its craft. “It’s making data beautiful not just visually but verbally, it’s using poetry to talk about data and I just think that’s magical. It’s not only beautiful, it’s really effective communication,” she says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"It’s not only beautiful, it’s really effective communication","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Nick Asbury, co-founder of Asbury & Asbury chose Tom Sharp and Studio Sutherl&’s self-promotional Twenty-five Sculptures in Five Dimensions for its inventiveness and guile. “What appear to be plinths, when you approach them, you realise that they are poems, the idea that is each poem is conjuring up a visual sculptural object made somewhere between the words on the page and what it’s doing inside your head,” he says.
\n\nJamie Ellul, Creative Director at Supple Studio, chose Marvel Postage Stamps by Interabang for Royal Mail. “The miniature sheet is usually the poor cousin of the main set of stamps but somehow they’ve kind of elevated that and really sold them in a really interesting way,” he says.
\n\nLara Juriansz, Design Director at Johnson Banks, went for Printed by Parkinson’s by Innocean Worldwide Europe for Charité University Hospital. “The way that they’ve gone about it is really true to the disease but also really accessible in the way that you just get it straight away, “she says.” They’ve just done it in such a beautiful, quiet, delicate way.”
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\n"},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":2,"body":"Eagleton chose Channel 4’s hilarious Complaints Welcome ident which sees the channel’s stars quoting complaints that have been sent in about them. “It was our favourite use of words in 630 entries,” he says. “They used their own words against them in the most wonderful, funny, warm, playful way.”
\n\nTenenbaum speaks about the We Compost – Feed the Worms rebrand by Seachange, applauding the less-is-more-approach to copywriting which saw the brand enriched with some key words and phrases plus a sweet worm-themed font. “It’s an incredibly harmonious way of bringing something, which on the surface is incredibly small and verbal into something much bigger and visual, but elevating it and enriching it and not letting it become a missed opportunity,” she says.
\n"},{"__typename":"QuotePlugin","pluginType":"QuotePlugin","position":3,"copy":"What’s really remarkable is that they got real brands to buy into the idea of their ad being taken over by another brand","author":"","company":""},{"__typename":"CopyPanelPlugin","pluginType":"CopyPanelPlugin","position":4,"body":"Mind Control by adam&eveDDB for Unilever, in which subliminal messages were put into other ads to lure Marmite haters to the other side, was Delaney’s pick. “What’s really remarkable is that they got real brands to buy into the idea of their ad being taken over by another brand, which is so bold,” she notes, also praising the use of radio advertising.
\n\nLawlor chooses the D Double E-voiced IKEA Silence the Critics ad, which sees a family's home critiqued by animated household ornaments in the typical style of a grime diss rap D Double E is known for. “It’s a lighthearted twist on a diss track. Also, CG can be really unfunny, I almost always will try to go practical over CG in any case that I’m trying to be funny, but it’s really well done here,” he explains, noting that it’s a nice antidote to a traditional Christmas ad.
\n\nThe panel draws to a close noting that the role of words and their place in the world of modern advertising is changing but the flipside of this is that writing is awarded in tangential ways through recognition in other categories. While there is a stronger focus on images, roles for writers often pop up within categories such as Craft and Impact.
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