Breaking In

Check out the work of Ian Cohen.

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What do you look for in a student book?

I look for different qualities depending on whether or not I am looking at an art director or writer book. But in general I like seeing a variety of clients and voices, attention to detail, and unique approaches to solving problems.

For writers, I look for someone who has a unique way of approaching ideas and creating different voices for each client. But it is important that those voices and tones are right for the client, not just writing different for different’s sake. I also like writing that doesn’t feel too perfectly crafted. Any writer can write a nice, crafted headline. It’s like any doctor can give someone a shot. So I am not a fan of a book full of headlines. Having some great headlines, so I can see how you tackle them, is great, but try other writing approaches too. I love writing that feels more like a conversation with the consumer than the company talking at the consumer. Also, I want to look at the writing and feel like it could only be for that company. Not anyone else.

One problem with student books is that the student doesn’t always get into a real client’s problems enough to let those problems help them create a difference. For example, Diadora Soccer is Italian. To compete with Nike and Adidas, that is their one point of difference. But in a student book, you might still see headlines about how hard the shoes can kick. It’s more than that. And if you can find that true difference, it will help your concepts and writing and art direction stand out.

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Ian Cohen is Owner and Creative Director of Wexley School for Girls in Seattle.

Seattle Sounders

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Check out the work of Nick Worthington.

What do you look for in a student or junior portfolio? And what impresses you?

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What I’m really looking for in a book is original thinking. And I’m looking for people who could potentially come into the department and not replicate what everyone is doing. The most disappointing books are the ones where you know every idea in there could have been done by anyone in your creative department. So really they are bringing nothing new. If you’re just coming into the industry, you should be full of ideas, opinions, and points of view, which might not be practical. They might be completely outlandish, but they should communicate something fast, have a clear point of view, and do so in a way that is surprising.

The other thing is I want a depth of thinking. I’d say 90 percent of the books I look at have one really great thought. And then they have nine other campaigns which are kind of fine. And the books that really stand out are the ones with 10 really great thoughts. It’s really hard to do, but it is the thing that students wanting to get hired—not just wanting an internship—have to do. If they can do one great idea, they can do two, they can do three, they can do four; they just haven’t done them yet. I think a lot of students accept ordinary very quickly in the work that they show.

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Nick Worthington is Executive Creative Director of Colenso BBDO, based in Auckland.

Wrangler – “Follow the Yellow Brick Road”

Levi’s – “Drugstore”

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Check out the work of Warren Brown.

What do you look for in a student portfolio? And what impresses you?

I look for clarity of thought. I like a combination of logic and madness. We work in an industry where we solve problems, and trying to define what is the problem that we’re actually trying to solve is quite often the biggest challenge. So I like people to have a very analytical way of approaching a problem and figure out what is important and what isn’t. If there’s a logic to the construct of your argument or idea, then you need to deliver it with a sense of irreverence and madness. And not fall into the trap of delivering it in a dry fashion that won’t catch anyone’s attention or get them interested. It’s a very “yin and yang” thing; if the fundamentals of the thinking are sound and given a “sticky wrapping,” then they will engage people.

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Warren Brown is the Creative Founder of BMF Advertising in Sydney.

Toohey’s Extra Dry – “The Quest”

Toohey’s Extra Dry “HarvesTED”

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Check out the work of Tony Liu.

What do you think about showing work other than advertising?

I hired someone with no knowledge of advertising but she had a sketchbook, and I hired her as a copywriter. Later she became more interested in making beautiful visuals, so she turned into an art director. And now she is a very good creative director.

Sometimes students have doodles—a small drawing—and next to it a paragraph or small poem. And from that you know that they live. Advertising people need to live life. Without that, there is no way you can have inspiration. You don’t have to always write advertising headlines. If a person loves life and wants to put it down on paper for themselves, that person has merit. As a Chinese creative director we are like a jade finder. There is no way I can know everything about you, but there is something in you that makes me think you have a chance to turn into jade. And I am responsible to help this person develop and turn into jade. And if I’m a student I want to find someone who will do that for me.

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Tony Liu is Greater China Partner at M&C Saatchi aeiou in Shanghai.

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Check out the work of Justin Drape.

What do you look for in a student or junior portfolio? And what impresses you?

Unique thinking and a willingness to learn. I don’t think you can teach either of these things, so it’s really important. I’ve met some juniors who are interesting thinkers but they have attitude problems and/or a sense of entitlement that will not sit well within our company culture.

Also, in regards to their unique thinking, it doesn’t necessarily have to be advertising work. If somebody has a unique take on the world, you can see that through a piece of writing, a new business idea, or a personal art project. If they are showing initiative and a willingness to experiment, then that’s the type of person we want in the agency. Some of their work might not be perfect, but if they’re trying new ways of doing things, that’s important to us. It’s okay if you try and fail, but it’s never okay if you fail to try.

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Justin Drape is Chief Creative Officer & Co-Founder at The Monkeys in Sydney.

Sydney Opera House – The Ship Song Project

The Ship Song Project is a music project that invites the world inside the The Sydney Opera House and positions ‘The House’ as a contemporary cultural hub.

Set to a re-working of Nick Cave’s immortal ballad, the film features performances by 100 of some of Australia’s and the world’s preeminent artists including Neil Finn, Kev Carmody, Sarah Blasko, Angus and Julia Stone, Paul Kelly, Temper Trap, Martha Wainwright, Katie Noonan and Daniel Johns and featured Sydney Opera House resident companies Sydney Symphony Orchestra, Teddy Tahu-Rhodes with Opera Australia, The Australia Ballet, Bangarra Dance Company, John Bell, Richard Tognetti and the Australian Chamber Orchestra.

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