30 Creatives Whose Smart, Funny and Innovative

Work Keeps Advertising Interesting

adweek.com/news-gallery/advertising-branding/30-creatives-whose-smart-funny-and-innovative-work-keeps-advertising-interesting-165959

They make the work you wish you'd made. Work that
makes you think, makes you laugh, makes you feel, and
perhaps most of allmakes you jealous. It's also work
that works, and keeps clients coming back for more. As
part of Adweek's Creative 100, we've chosen 30 rankand-le agency creatives, from copywriters and art
directors up to executive creative directors, who are making some of today's most creative
and compelling advertisingsetting the gold standard for the industry.

Neil Heymann and Kevin Brady

Executive Creative Directors
Droga5, New York

Heymann and Brady were made ecds at the same time, and are both widely celebrated
for what David Droga calls a "humility, character and generosity that has earned them
unwavering loyalty" at the agency. Heymann, an Australian with a digital background, won
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scores of awards for his Jay Z/Bing work and the Prudential Challenge Lab, and has been
focused lately on the Toyota Mirai fuel cell vehicle. Brady gave Honey Maid a relevant,
progressive voice with ads about modern families, and is also proud of the recent "No
Ceilings" work for the Clinton Foundation. "We want everybody who comes to Droga to
make the best work of their livesto feel both challenged and supported and mentored,"
Brady says of nurturing creative talent. Adds Heymann: "Kevin and I agree on the big
things, like what makes this agency tick, and our opinions are dierent enough on the
other stu to keep it interesting. We also agree on hairstyling."

Maria Scileppi
Director of 72U
72andSunny, Los Angeles
An inventive, collaborative, process-based artist,
Scileppi was the perfect person to design 72U, a
three-month residency that invites creative
thinkersmany of whom have never made an
adto explore innovation in elds like ne art,
computer science, architecture, product design
and law. Scileppi specializes in creating
frameworks that allow people to interact. Recent
72U projects include a light-reactive pop-up
gallery that gave lasers to visitors and let them
be artists; an interactive music video with an
online message board as an interface; and two
four-story murals about privacy in the digital age.
For one personal project, Scileppi made 412
new friends in 412 days, wrote about each of them, and invited them all to a gallery show
of her writings. "Collaboration starts with consciously choosing to be open," she says.
"Feeding o of other's passions. Looking for opportunity. And asking yourself, what could
we make together?"

Aaron Duy
Creative Director
SpecialGuest, New York

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Duy rst made his name as a director with an

appealing handmade aesthetic in ads like Audi's
"Unboxed" spot from 2008. This caught the eye
of Google, which wanted tactile ads to give its
virtual products some weight, and got Duy to
make the Chrome Speed Tests and, famously,
the "Parisian Love" Super Bowl spot. He has
since opened his own agency, SpecialGuest,
made impeccably designed, visually delightful
ads for Squarespace and Frooti, and co-directed
OK Go's "The Writing's on the Wall" video. "I've
approached my work as a visual communicator
rst and as an artist second," he says. "At the
same time, I always nd that the best visual
communication is the most artistic and creative concept and execution. The result is a
hybrid mashup of strategic thinking and experimental making. Attacking just one of those
isn't enough." His goal for any piece of work is lofty. "We have to approach what we do
like we are artists from the Italian Renaissance," he says. "We should go for a lasting
cultural impact every time."

Jason Sperling
Executive Creative Director
RPA, Los Angeles

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Sperling wrote the best ad campaign of the

2000s, Apple's "Mac vs. PC," at TBWA, and has
followed that up with ve years of
groundbreaking work on Honda at RPAfrom
the Ferris Bueller Super Bowl spot to "Project
Drive-In," which has saved 27 drive-in movie
theaters from closing. He's also in the process of
releasing a new marketing book, Look At Me
When I'm Talking to You, page by page on
Instagram. "I have high expectations for the
group that I lead and impossible expectations for
myself," he says. "I love nurturing talent and
leading by example. I have fairly simple goals
do smart, breakthrough work with respect for the
folks you work with and without a ton of ego." He adds: "I enjoy the challenge of
connecting with today's jaded, cynical and over-stimulated audiences when technology
and media have made engagement so dicult. It keeps me up at night. It makes me
restless and twitchy. And it's why I still check my iPhone when I'm on vacation. But I love
it."

Will McGinness
Executive Creative Director
Venables Bell & Partners, San Francisco
McGinness got Reebok to "Be More Human."
And it's a philosophy that extends to much of his
advertising workfrom Intel's "Look Inside" lms
(about the life-arming work of pioneers like
Mick Ebeling and Jack Andraka) to Google
Fiber's "Nick's First Pitch" (which enabled a 13year-old to throw out the rst telerobotic rst
pitch in Major League Baseball history) to
Google's recent lauded "City Gym" spot for Pride
Month. Even his clever work in social media, like
Reebok's Human Dispatch Service for shoe
delivery, has that personal touch. In February,
McGinness was promoted to partner and now
oversees Venables Bell & Partners' entire
creative department. "I like work that makes people feel something," says the former
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Goodby, Silverstein creative director. "It may be a laugh or something more, but it's that
human connection that matters most in everything we do."

Neil Riddell
Executive Director of Product Innovation
Crispin Porter + Bogusky, Boulder, Colo.
Why sell your work when you can own it? Riddell
has been preaching that gospel since 2007,
when, after a decade at CP+B, he founded its
product innovation unit. Product development
partnerships since then have included the bikesharing system B-Cycle; the environmentally
minded mechanic brand Green Garage; and the
award-winning spirit brands Angel's Envy
Bourbon and the Hemingway-inspired Papa's
Pilar Rum. (The unit is now expanding into
lifestyle, fashion and tech.) "At the center of our
process are three things: relentless investigation,
the questioning of conventions and the seeking
of opportunities to innovate or invent. We strive
to build layers of meaning and depth into each product as well as their surrounding
communications," says Riddell. "We're leveraging the power of creativity, technology and
design to create what we hope to be enduring brands. We're doing this by taking a holistic
approach to designdeveloping the brand, product and digital ecosystem in unison. We
believe this is the most eective way to create memorable products and lasting
experiences."

Lindsey Lanpher
Copywriter
SS+K, New York

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After a decade at agencies including

HudsonRouge, mcgarrybowen and Anomaly
where she was the very rst creative hire back in
2006Lanpher found a home at SS+K, working
on The New Yorker, Sirius XM, Jackson Hewitt
and Wells Fargo. But her smash hit was writing
the award-winning "Awkward Family Viewing"
campaign for HBO Go. To prepare, she studied
the dialogue of HBO comedies, which are "so
next-level, they gave me something to shoot,
miss and then keep shooting for," she says.
"After that it was pretty prosaic, just writing a ton
of scripts until we found the pace and rhythm
you eventually saw." Lanpher is humble about
her process. "Most days I'm just that blind squirrel hoping to trip over a nut," she says. "I
like to read, so when I get a new assignment I'll often go to my ever-growing to-read list
and pick something that best aligns with the project, hoping the language and thinking of a
more accomplished writer will percolate into my brain," she says. "I've learned over the
years that I need to do a ton of writing up front, to ush out all the crap before I can get to
anything that wont get me laughed out of the industry."

Peter Moore Smith

Executive Creative Director
Saatchi & Saatchi, New York
A former creative star at BBDO, Smith found
viral success at Saatchi with the Derrick
Coleman spot for Duracell and the Cheerios ad
that provoked a debate about race. A novelist,
short story writer and screenwriter (his lm
Forgetting the Girl won the audience prize at the
SoHo Film Festival in 2012), Smith also recently
turned to directing. Among his projects: a
Saatchi PSA exploring "The Talk"a
conversation that often takes place in black
homes in which parents warn their children
about potentially violent encounters with the
police. "An advertising idea is nothing if it doesn't
make someone smile or laugh, or give rise to an
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emotion, or change someone's view of something," he says. "The ideas I like the best are
[the ones] that transcend the threshold of the rational mind and put the message in the
context of something human and meaningful. Usually, and for me at least, that's a story,
but it can also be an image or a joke, a new thought or point of view, sometimes even just
a handful of well-chosen words. The continuously exploding and expanding media
landscape has made these options innite. The real challenge is whether our creativity will
keep up."

Dan Lucey and Chris Beresford-Hill

Executive Creative Directors
BBDO, New York
It's tough to do comedy and drama equally well,
but Beresford-Hill and Lucey are preternaturally
skilled at both. They've kept Foot Locker relevant
with wry comic spots tied to story lines from
sports (including a Mayweather/Pacquiao spot
that's credited with helping to make the ght
nally happen), while their Guinness ads,
including the famous wheelchair basketball spot,
are beautifully evocative. Partners at BBDO
since 2012 (after both did stints at Goodby and
Saatchi), they've also teamed up on HBO and
FedEx. "To talk about our creative philosophy
implies we have it all gured out, and we don't.
We try to make sure everything we pursue is
based on a true insight, and then we work tirelessly on it, except when we take breaks to
write blurbs for Adweek," says Beresford-Hill. Adds Lucey: "We're a great team because
we're always 100 percent honest with each other. For example, Chris already mentioned I
could have taken a better photo for this article. There's truth to that. Sometimes this
strategy ends with one of us crying a little, but overall it saves us time and allows for us to
get to the best work possible."

Neel Williams
Creative Director
The Martin Agency, Richmond, Va.

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This Louisiana native and Yale grad started

agency life in Atlanta, spent two years at Y&R
New York, then returned to the South in 2008 to
work at Martin in Richmond, Va. There, he
helped to create the American Cancer Society's
"More Birthdays" campaign, relaunched Stoli
and, perhaps most notably, wrote Geico's "Did
You Know" and "Unskippable" campaigns, with
the latter earning Martin its rst Cannes Grand
Prix. "When my partner, Mauricio [Mazzariol],
and I rst got the online [Geico] video
assignment, it didn't look particularly amazing on
paper. But sometimes that's the beauty of having
a really small creative window. It forces you to
think with laser focus," says Williams (whose prior experiments in absurdism included
publishing a book about useless superpowers and inventing a high-ve machine). "It's all
kind of crazy, because pre-rolls are nothing new and were just kind of sitting there as an
overlooked opportunity. By embracing the ve-second limitation [for 'Unskippable'], we
were actually able to turn something that can be super annoying into something people
actually watch to the end and share. It's a pretty big shift when you think about it."

Johnny Dantonio
Creative Director
Anomaly, New York
Since joining Anomaly in 2011, Dantonio has
helped make some of the most poignant, keenly
observed commercials around for brands like
Dick's Sporting Goods, Converse and Bud Light
Canada. But his best-known work is surely the
beloved "Puppy Love" and "Lost Dog" Super
Bowl ads for Budweiser. "If you're reading this,
you're probably not an adorable puppy who will
do anything to get back to your badass
Clydesdale best friend," he says. "But you do
understand what it's like to reunite with someone
you love, and I think those are the types of
familiar sentiments we try to evoke." Dantonio is
helping to lead Dick's upcoming Olympic
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campaign and is also prepping Anomaly's rst Jolly Rancher ads, which will be
dierent. "This work is more, er, JOLLY!" he says. "Embracing a dierent tonality will be a
challenge, but one we're welcoming with open arms."

Andrea Mileskiewicz
Associate Creative Director
Mullen Lowe, Boston
In her seven years at Mullen, Mileskiewicz has
worked on accounts as varied as JetBlue, U.S.
Cellular, Barnes & Noble, Panera Bread and
Fage. But last year she hit the biggest home run
of her career"World's Toughest Job" for
American Greetings. "The World's Toughest Job
was the world's biggest creative leap," says the
Central Michigan grad. "From the original brief,
which was for banner ads. For the client who
trusted us. From our humble expectations to
what it's become. I'll never forget the day my
partner, Blake Winfree, and I received the
assignment. The budget was small and the
deliverables were standard, but we looked at
each other and said, 'F*** it, let's swing for the fences.' " The result: 25 million YouTube
views and countless ad awards for a true pop-culture phenomenon. "Everything about the
project was wonderfully scrappy, integrated and thrilling," Mileskiewicz says. "I wouldn't
have it any other way."

Jason Kreher
Creative Director
Wieden + Kennedy, Portland, Ore.

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A W+K writer since 2008, Kreher has worked on

Target, Coca-Cola, Oreo and Heineken, but has
excelled in particular on Old Spicefor which he
now runs social media. "I try to run the social
part of that account like a writer's room," he
says, "throwing together a dozen smart, hilarious
people from dierent departments and seeing
what happens. You will not believe the amazing
things that come out of their brains when they
have the freedom to fuck up." Kreher recently
published SchadenFreezers, a collection of cruel
Popsicle stick jokes, with art director Matt
Moore. He also tells people he wrote the iconic
Elizabeth Taylor "White Diamonds" commercial,
even though he was only 13 at the time. "A good idea is like really disgusting
pornography; you only know it when you see it," he says of his creative philosophy. "My
job is to help people nd a good idea, and then to help them protect it as it gets made."

Kinney Edwards
Executive Creative Director
Tribal Worldwide, New York
After three years at Ogilvy, Edwards arrived at
Tribal in 2007. There, he has led creative on
brands including the NFL, Advil, Nickelodeon,
Pepsi, Philips and Neutrogena. Among his
recent standout work: digital support for the
IAMS spot "A Boy and His Dog Duck"; a site
redesign for H&R Block; and an anti-drug mobile
game that got teens to simulate DXM abuse in
robots. "Above all else, I believe keeping it
simple is always best," says Edwards, who also
tries to both respect and ignore trends. "I want to
know what's going on in the advertising world
what people are intobut I also want to create
something new," he says. "I want to know that
something is relatable but fresh. I want to know if it is bigger than just being a thing; it has
to be an idea that stands above it all. My gut usually lets me know this. If I don't have a
visceral reaction, I know it's not a big idea."
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Aaron Draplin
Designer and Founder
Draplin Design Company, Portland, Ore.

The Portland, Ore., design guru has done print, identity and illustration work for the likes
of Nike, Burton Snowboards, Patagonia, Target and Ford, and even made two logos for
the Obama Administration. He also co-founded the notebook brand Field Notes and
markets DDC's own merch. His design philosophy: Be simple and timeless. "Things seem
to be getting more and more complex, with more and more typefaces, and each logo is
packing 10 pounds into 50 pixels," Draplin says. "A simple grid just makes more sense to
me. And stu like: Pencil on paper. Thick lines. Proper hierarchies of type. Making good
use of each element on the page. And trying to enjoy it all." Perhaps it's his Midwest roots,
but straightforwardness is a life mantra for the Detroit native as well. "I'd like to be the
Barbara Mikulski of graphic design," he says. "Piss, vinegar and not going down without a
ght."

Michael Hagos and Sam Dolphin

Art Director and Copywriter
Barton F. Graf 9000, New York
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Before jumping to Barton F. Graf, this young

creative duo were at Goodby, Silverstein &
Partners in New York, where they helped to
make one of 2015's most beautiful ads"Emily's
Oz" for Comcast. "It was expected to be a much
smaller project about a remote control," they tell
Adweek. "But seeing what a person who's blind
sees when they watch their favorite movie felt
bigger than the original brief. So our tiny oce
pulled together, punched above our weight, and
got the right people to say yes (to giving us lots
more money) to do the idea justice. But really,
we were lucky to meet such a cool kid." Now,
they're thrilled to be working for Gerry Graf, Ian
Reichenthal and Scott Vitrone, whom they've idolized "since our awkward years." Of their
own creative partnership, they say: "We work well together because we started o as
friends in grad school, but more importantly, we make sure to never let each other go to
bed angry."

Myra Mazzei
Creative Director
FCB, Chicago
When Mazzei was just a girl, she drew political
cartoons for her left-leaning father, who ran them
as ads in their local Missouri papercritiquing
the editor's more conservative cartoons. "I was
only 11, but the attention I got from these Gary
Larsoninspired drawings made me realize the
power of art and copy, and I was hooked," she
says. "From publishing zines in college to
founding an art gallery in Chicago, I sought to
make an imprint on culture. A career in
advertising gave me a global stage to share my
creativity." Mazzei believes advertising should be
artful and even make the world a better place
as evidenced in her Valspar eort to bring color
to the colorblind. "Whatever story we're sharing needs be lled with passion, creativity and
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honesty," she says. "I try to bring that sensibility to even the smallest projects I work on.
Even one simple Instagram post can change someone's life for the better."

Chris Smith
Group Creative Director
The Richards Group, Dallas
Smith was in 8th grade when Motel 6 launched
its folksy Tom Bodett radio campaign. "It's one of
the reasons I got into advertising, and it's what
drew me to The Richards Group," he says. "So,
my creative philosophy on that account is
simple: Don't screw it up." He hasn'tin fact he's
won ve Radio Mercury Awards, including the
grand prize. "Before I was charged with running
it, only a handful of writers had ever touched it. It
was this precious, delicate thing," he says of the
Motel 6 account. "I felt all this pressure to handle
most of the writing myself. But I quickly wised up
and opened it up to a more diverse group of
writers, including women, juniors, other group
heads, even (gasp!) an art director." He then works with each writer to "Bodettify" the copy
so it ts Tom's iconic rhythm and humor. Says Smith: "It's gratifying to see it all keep
working."

Aaron Padin
Head of Art & Design
J. Walter Thompson, New York

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Equal parts maker and teacher, Padin is

responsible for art direction, craft and design on
all brands at the agency. Among his creations: a
Human Rights Watch installation with hundreds
of prison cells made of pens (which visitors used
to sign a petition) demanding freedom for
Burma's political prisoners; Puma's bold "Forever
Faster" visual identity, centered on
strikethroughs and underlines; and a children's
book about energy conservation that could only
be read in the dark. "I am one those people who
annoyingly asks a lot of questions. I nd it's the
best way to learn," he says. "I strive to elevate
every piece of creative, whether or not it appears
to be a great creative opportunity, or whether or not it's my own idea." He's also a
decorated mentor to his team of ve designers. "I pick by their books but mostly by their
hearts," he says. "I am fortunate to learn as much from the team as they do from me."
Photo: Dorothy Hong

Jude Senese
Creative Director
Hill Holliday, Boston
This Boston art director is motivated by what
supposedly "can't" be done. "Merrell's TrailScape
was exactly that," he says of the recent virtual
reality project. "It was a perfect example of
dreaming big, surrounding yourself with the right
people, and pushing to make something truly
new and amazing." Senese is also known for his
ridiculously heroic Tinder prole, and he's even
been approached by a few networks about doing
a show. (He jokes that he's holding out for a part
on Game of Thronesperhaps a "socially
awkward character like Reek's slightly emo
second cousin who's really into magic.") Of his
day job, Senese says: "I'm the classic artist
turned advertising art directoroverly optimistic and rarely satised. I'm like the Fraggle
Rock version of Kanye. My approach is simple, though: Have fun. I've found that good
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creative always nds its way to the surface, whether you're beating your head against the
wall or laughing. I prefer the latter."

Dave Estrada and Nick Cione

Associate Creative Directors
TBWA\Chiat\Day, Los Angeles
This art director/copywriter team broke through
in a big way in 2014 with two major Gatorade
projects that broke within a month of each other
the "Sweat It to Get It" prank ads with Peyton
Manning and Cam Newton, and the brilliant
"Made in NY" retirement tribute to Derek Jeter,
which won the Grand Clio Sports award for lm.
"We were so focused on not messing it up that
we didn't have expectations for the response, so
when 'Made in NY' went viral we were blown
away," says Estrada. "It's great to make work
you're proud of, but when non-ad people tell you
they're proud of the work, it's a surreal
experience." Cione says of his partnership with
Estrada: "There's a high standard [at the agency], and with Dave and I, we're not afraid to
tell each other when we fall short of it. The fact that we're not afraid to call each other
out pushes us on every project."

Einav Jacubovich
Associate Creative Director
Publicis, New York

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A week before Halloween last year, Doctors of

the World asked Jacubovich and her Publicis
team for a campaign to raise money for ebola
protective suits. "That same day, we saw local
news discussing the year's most controversial
costume, the hazmat suit," Jacubovich says. "So
we instantly wondered, could we turn
Halloween's biggest controversy into something
positive? And could we do it in a week?" They
didwith the brilliant "More Than a Costume"
campaign that earned loads of media coverage
and awards to boot. Jacubovich credits her team
and her client ("They were nimble, they were
quick, and they were willing to do something a
little scary"), but her boss, executive creative director Joe Johnson, says Jacubovich's
tenacity certainly played a role. "Aside from her innate and immense talents, Einav's
secret is that she keeps trying long after others have given up hope," he says. "She is
unwaveringly, almost delusionally optimistic."

Matt van Leeuwen

Design Principal
Interbrand, New York

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An art school graduate from the Netherlands,

van Leeuwen brought his strong typography
background and playful spirit to Interbrand in
2011. There, he has combined high-prole client
work with more intimate projectsnotably, the
Mandela Paper Prison, a yellow poster, created
for Nelson Mandela's 95th birthday, that
unfolded into an 8-by-7-foot square, the size of
the cell at Robben Island where he spent 27
years. The poster was typographically informed
by John Lennon and Yoko Ono's famous "War Is
Over" protest sign and set in centered Franklin
Gothic Condensed type. "All of this, coupled with
the simple use of yellow, made it so that the
poster maneuvered between spatial and protest qualities," says van Leeuwen. "Design to
me is a way of life," he adds. "For me, there is nothing worse than a day spent without
making somethingwithout physically transforming something. The need to create,
experiment and play is, I think, essential to the way I work and, above all else, essential to
my overall happiness."

Dean Buckhorn
Group Creative Director
Carmichael Lynch, Minneapolis
The Northern Virginia native arrived in
Minneapolis in 1991 and spent two decades at
Fallon, where, most notably, he created Time
magazine's "Red Border" campaign. He joined
Carmichael Lynch last year, where he has
launched GNC's "Beat Average" campaign and
contributed to the agency's lauded Subaru work.
"To me, the secret to longevity in this business
has always been to create work or tell stories
in any mediumthat resonate with people
emotionally. It never gets old," he says. He adds:
"In terms of my personal creative philosophy, I
can say this. Any creative success I've had in
this business has come from the fact that I've
been lucky enough to work with some of the world's best art directors, and I've been
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blessed, or cursed, with a work ethic that is almost entirely driven by creative insecurity.
I've found that if you think every idea you have pretty much sucks, you tend to keep
working on it until it pretty much doesn't."

Pete Marquis and Jamie McCelland

Freelance Creative Team
Marquis and McCelland met as creatives at
BBDO, and quickly knew they wanted to make
comedies together. Now a freelance team,
they're best known for writing and directing
HelloFlo's two giant viral hits, "Camp Gyno" and
"First Moon Party," which logged 40 million
YouTube views between them. "People can open
up to a deeper message if they're laughing, and
they're more likely to laugh at things that are
universally true," says McCelland. "We like to do
humor with the heart, and heart with the humor."
Marquis says of his partnership with McCelland:
"Our main thing is we have to align on a vision.
And there's a lot of debate and trying to prove
each other wrong that goes into that. It can be grueling upfront, but it lets us really
connect with the material, and be as close to single-minded as possible on set. ... We're
pretty codependent at this point. It's kind of sickening."

Gerard Caputo
Executive Creative Director
BBH, New York

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BBH is Caputo's seventh stop in a decorated 20year career that's included stints at Mullen,
Fallon, BBDO, DDB, CP+B and Ogilvy on brands
such as AmEx, FedEx, PBS, BMW, Citibank and
Monster.com. At BBH, he leads creative on
Newell Rubbermaid brands, Harman/Kardon,
Great Nations Eat and Sony PlayStationfor
which he made the magnicent "Perfect Day"
spot set to the Lou Reed track. "Being an avid
gamer, it was a dream to make [that] lm with
one of my favorite songs and with some of my
closest friends. The blowing stu up part was
pretty fun, too," he says. He's also proud of the
"Foreign PSA" for Share Our Strengththree
PSAs shot in one day depicting America as the country that needs help when in comes to
solving hunger. "We've been operating under the premise ofbest idea wins," Caputo
says. "It's the one thing no one can argue and everyone can rally around."

Tara Greer
Executive Creative Director, Platforms
Deutsch LA
An ecd with a user experience background,
Greer led the Nike+ FuelBand team at R/GA
before opening that agency's Los Angeles oce
in 2013. She jumped to Deutsch last year to run
its platforms group, drawing on her expertise in
mobile and social design, e-commerce and
game-inuenced digital experiences. Among her
notable work: the relaunch of VW.com; the VW
Golf's "Unleash Your Rrr" campaign; a
connected-car device for VW that attaches to the
engine and sends all sorts of data back to the
driver; and upcoming platform innovation
projects for Target and Taco Bell. "A big creative
idea on paper means nothing if it's not delivering
some real value or utility back to real human beings," she says. "Today's creativity
demands the truth. I love the transparency this is bringing to advertising. It forces us
creatives and brands to create much more authentic work."
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Mat Bisher
Executive Creative Director
McCann Worldgroup, New York
A 10-year McCann veteran, Bisher had a pivotal
year in 2013, when his "Have a Story" campaign
won the Jose Cuervo account for McCann New
York and his Nature Valley Trail View platform
was lauded as one of the world's best digital
eorts. The Ohioan now runs Cuervo and is an
ecd on Microsoft global. For the former, he's
excited to set a new tone with TV work directed
by Daniel Kleinman. And for the latter, his team
is busy building the global launch work for
Windows 10. Bisher's approach to creativity
involves "the delightful combination of hard work
and pessimism," he says. "To balance that, I
surround myself with insanely positive, talented
and caring people who not only put up with me, but also make it all work somehow."

Jonathan Moehnke
Art Director
Fallon, Minneapolis
In his three years at Fallon, Moehnke has
worked on brands including Arby's, Cadillac and
Talenti. But he and his team saved their most
peculiar vision for Loctite gluein a pleasantly
cockamamie 2015 Super Bowl ad showing a
range of mists grooving to reggae dancehall in
bright-red fanny packs. The idea was to "shift the
emotional space of glue from feelings of failure
to the feeling of winning," Moehnke says. "When
you feel that winning vibration, you dance. And if
you feel it strong enough, you might just rock a
fanny pack." He and his agency colleagues were
grooving right along with the ad's cast. "As a
creative, the joy you feel while making
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something gets imprinted on the work," he says. "Subconsciously, I think this is actually
one of the rst things an audience responds to. Were the makers enjoying themselves
while making? I certainly did."

Jones Krahl and Milton Correa

Creative Directors
Ogilvy & Mather, New York

This accomplished Brazilian writer/art director team helped to create and launch IBM's
"Smarter Planet" campaign, and have worked on a variety of other brands at Ogilvy,
including American Express, Grey Goose and Philips. Most recently they were
instrumental in quite the advertising installation piecethe crazy Coke Zero drinkable
billboard at the NCAA Men's Final Four. "Most people in the U.S, have never tried Coke
Zero. How could we make them try it?" they tell Adweek. "Instead of talking about the
taste of Coke Zero, we created a campaign that people could literally taste Coke Zero.
From a billboard that dispensed real soda to TV commercials and radio spots that could
pour people one in real time, we removed barriers and made it ridiculously easy for
people to try the product in fun and unique ways. It's advertising you can drink."

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