Breaking In

Check out some great work from Pat McKay.

PM: [ … ]

WS: So that was my next question: How important is the finish? Do you think sketches can be enough? Or do you think you have to show finished ads?

PM: Yeah it’s a funny thing. Obviously we would be able to see an idea off a sketch. But in a way, the people who get away with doing sketches are when you’re in a situation where your work kind of precedes you, that people know enough about how you work and what you’ve done. After you’ve worked in an agency for a while, and they get to know you, you can sketch out an idea and they can see what the idea is, and they kind of know the process you’ll go through from there. But when you’re a student, your work doesn’t precede you. That is your work. That sketch is your work. So if it’s a good idea, that’s fine but it’s just like, face it, there are just so many books out there that have good ideas and are really tight, execution-wise. So you should really try to avoid doing sketches.

But, that being said, if you have good ideas, I wouldn’t be afraid. It’s going to be hard to get a job on sketches—really hard—but you can get some great feedback on sketches and it can be part of the process. I wouldn’t be afraid to take sketches and put them in front of smart people that you would like advice from.

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Pat McKay is a freelance Copywriter/Creative Director in Seattle.

Ameriquest

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Check out some great work from Matt Vescovo.

WS: What impresses you in a student book?

MV: I think an interesting thing is a balance of voices. They have a voice to their work—there’s a tone of voice—but at the same time, that doesn’t override what’s appropriate for the assignment or the product. Every campaign needs to feel different and have a distinct point of view.

And that they’re saying something that’s not ambiguous. They’re really making a statement that’s clear. And I think that’s something that helps you empathize, and connects with you, that’s relatable. That kind of touches you and hits you that way. And obviously something that’s unique, which is hard. Something that has a unique voice and unique ideas, but at the same time, isn’t so out there that it’s not relatable. And that’s a tough balance to get because you don’t want to create poetry. You have to create something that people are going to respond to, and that people are going to understand.

[ … ]

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Matt Vescovo is a freelance art director and artist living in Los Angeles.

FedEx – “Alien”

Sauza

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Check out some great work from Ali Alvarez.

Interviewed at Fallon, London.

WS: What do you look for in a student book? And what impresses you?

AA: Originality of ideas and something that shows who they are as people. For some reason, students are all being given the same briefs and so you see the same kinds of products—and work—in their books. So I think they should try to find the products that just don’t feel “studenty,” something they’re interested in, and focus on great ideas, really. Although it’s nice to see things executed well, it comes down to ideas. Good Photoshop skills don’t count.

WS: And that was actually my next question. Do you think it’s important for things to be finished? And specifically for art directors?

AA: I guess for art directors, it’s more important. But I don’t know. I’m driven by ideas here. At Fallon it would definitely be more about the idea. And many places have got a really strong design department, so I definitely think I’d rather see strong thinking and help develop the execution.

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Ali Alvarez is Creative Director at The Brooklyn Brothers, London.

Range Rover – “Being Henry”

An interactive film where you make choices for Henry, the consequences of which configure your Evoque.

Go to the interactive film’s website.

Range Rover – “Pulse of the City”

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Check out some great work from Kara Goodrich.

WS: When you see a student book, what do you look for and what impresses you?

KG: Originality of ideas. Taking on some products or services that are a little deeper than the usual superficial stuff.  It’s also easier to do good work for something that has more substance or story to it. Also I look for range. If they’re a writer or art director, do they have a schtick or can they really find the right voice and the right look for a brand?

WS: What about things that aren’t ads? Do you think it’s important?

KG: I personally do not want to see fiction writing or screenplays or art—that doesn’t do anything for me. If it’s advertising-related work, like guerrilla, alternative-type things that ultimately have a marketing purpose, yeah, but as far as your hobby, writing, painting, or poetry, no.

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Kara Goodrich is Senior Creative Director at BBDO New York.

GE

Gillette

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Check out some great work from Monica Taylor.

[ … ]

WS: Do you think there are common mistakes or traps that a lot of students fall into when they’re putting their book together?

MT: It’s not about completely tailoring yourself to what you think a particular agency is looking for. It’s more like dating. Be yourself—in the form of your book—and find a place to work that appreciates what you have to offer and is attracted to your work. And vice-versa. I think creatives are pretty good at saying to themselves: “I like this agency, and I want to work there. And I think their work and mine are a really good fit.” Keep that in mind when you go to meet the person from that agency, rather than thinking, “What are they looking for? How can I twist myself to be that? How can I change?” Take their notes, sure. They know what they are looking for, and can help you. But don’t lose yourself. You’ll be happier in the long run.

[ … ]

WS: What was it like when you were just starting out?

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Monica Taylor is a Creative Director at Wieden+Kennedy Portland.

Nike – “Tag”

Nike – “Wild Horses”

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