Over the past couple of weeks, our long-standing contact and expert on photography, Anne-Rose Schlutbohm, our art director Christine Thierry and I went through all of the work submitted for our next Special issue, 200 Best Ad Photographers which we hope to publish in the fall. The total of submissions for this book numbered somewhere in the 9,000s – and you can imagine what it's like to go through every single entry, one by one. Personally, I refuse to look at more than 500 in one go since, at the onslaught of these images – a lot of them very much alike and not infrequently poor copies of work that's been around for decades – my mind turns to such mush that it would not be fair to submitters to make a decision about whether their work should be presented to our official jury. It is for this jury (more about them soon) that, time and again, we go through this rather grueling task of boiling down the submissions to a more palatable number since we cannot very well expect them to judge such an enormous amount of work.
What these sessions tend to do with me is that they turn me more and more jaded. After 30+ years in the business, there is not much that can impress me. Of course, the work that we feature in the magazine largely does and so does the work that I always happen to discover at the annual exhibition of the D&AD awards. There is always stuff that I discover which I had never seen before and that thrills me in unexpected ways. After last week's blog, in which I presented the D&AD Pencil winners that you have in fact seen before in the pages of Archive over the last year (i.e. we got there first!) today is a selection of work that I saw this year first at the D&AD exhibition. They will all properly feature in Vol. 4-2019 of Archive but I just had to show you in this blog the work that made a strong impact on me and that I first saw there.
First of all, this campaign for the Japanese railroad. I doubt that in the whole world there is any print advertising for mass transport that – from a purely aesthetical viewpoint – pleases me more (and always has over the years). One of the headlines reads, in the agency's translation into English: Can't meet you in the e-mail. See you at the rail. Which may be slightly funny English but does come off sounding rather poetic.
This poster campaign for the Japanese railways almost floored with its excellent use of the poster medium. One of the headlines reads, in the agency's translation into English: Can't meet you on the e-mail. See you at the rail. Which may be slightly funny English but does come off sounding rather poetic. Wood Pencil / Crafts for Advertising / Photography for Advertising. Ad agency: DENTSU, Inc., Tokyo.
In recent years I've found the ads for Diesel rather disappointing and bland. So it's good to see that they're back in form with a campaign that reminds me of their advertising in the early days of the brand.
Wood Pencil / Press & Outdoor / Poster Advertising Campaigns. Ad agency: Publicis, Milan.
Outdoor advertisement created by Y&R, UAE for Interreligious Council Bosnia and Herzegovina, within the category: Public Interest, NGO. Wood Pencil / Press & Outdoor / Public Service Poster Advertising. Ad agency: VMLY&R, Dubai
Brilliant work as usual for Lego:
Wood Pencil / Press & Outdoor / Poster Advertising Campaigns. Ad agency: Ogilvy Group Thailand, Bangkok.
Some more "beauties" I came across at this year's D&AD exhibition of outstanding print work:
From left to right: 1. Shortlist / Illustration / Posters. Ad agency: Makani Creatives, Mumbai. 2. Wood Pencil / Photography / Still life & studio. Ad agency: Hakuhodo, Tokyo. 3. Shortlist / Graphic Design / Posters. Ad agency: DENTSU, Inc., Tokyo. 4. Wood Pencil / Press & Outdoor / Poster Advertising Campaigns. Ad agency: Shiseido, Tokyo.
I'm quite certain that these ads and posters won't go unnoticed at the Cannes Lions this year and they'll be properly featured in Vol. 4-2019 of Archives, the "after Cannes" issue.