Top Dog

TOP DOG MIAMI AD SCHOOL

TIPS ON PRODUCING AWARD-WINNING
STUDENT WORK AND JOB-WINNING PORTFOLIOS
top dog [top dawg ]: n. (Slang)
1. One considered to have the dominant position or highest authority, especially as a result of a competitive victory.
2. A person who is in charge; “the head of the whole operation” [syn: head, chief]
Source: 1. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2000 by Houghton Mifflin Company. 2. WordNet ® 1.6, © 1997 Princeton University

W
hy did we choose a dog for our logo in the first place? Well, dogs are nice. Much nicer than human beings.
More consistent. More loyal. They listen better. Research shows you live longer if you have a dog. When you
come home after a terrible day, dogs wag their tails, happy to see you. How many spouses do the same? Ca-
nines know instinctively when you’re down and they try very hard to lick your worries away. Rub a dog’s soft ear, then
rub a human ear and see the romantic difference (in the dogs’s favor). Dogs work for us and demand very little salary.
A little dry kibble and a squeaky toy, that’s about it. They keep you very warm at night and keep one eye open for the
burglar at the same time. They’ll even do our dirty work like sniffing out a terrorist’s bomb. They’ll search for lost skiers
or even lost souls in the worst kind of tragedy. They’re eyes for us when we’re blind. They can even fetch milk from
the fridge if we’re paralyzed. Dogs will do whatever we ask, whenever. Yet, the truth is, we have so much to learn from
them. Above all, they really know how to play. Something we’ve forgotten long ago. Life, for a dog, is fun. Just smelling
life makes their juices flow. Waking up in the morning is an incredible experience for a dog. It’s being alive! Is it any
wonder there are so many dogs in advertising? (Want to win an advertising award? Just put a dog in the ad.) Advertising
legend Lee Clow brings his big German Shepherd to work. Everyone else at TBWA/Chiat/Day is welcome to bring their
dogs, too even the interns. (Thankfully, Lee was out of the office the day a Miami Ad School intern’s dog pooped in
his office. Lee still doesn’t know so don’t tell.) Crispin Porter + Bogusky’s move into new office space was conditional
on the owner of the building making an exception to their “no dog” policy. The official lease reads, “No dogs allowed
except for the Chairman’s dog, Suzy”. Now all the dogs that come to the agency are named “Suzy” and belong to the
agency’s Chairman, Chuck Porter. You’ll find dogs working at agencies all over the world: StrawberryFrog, Jung von
Matt, Goodby Silverstein & Partners, Scholz & Friends, Butler Shine & Stern, Buder Engel & Friends, Carmichael Lynch,
Wieden & Kennedy, KesselsKramer, Lowe Brindfors, and BBDO. Students and teachers bring their dogs to Miami Ad
School, too. We use the dogs to select our students. If a prospective student comes to the school and shows fear or
disrespect to the pup at the door, we advise the prospect of another school. We know that person isn’t cut out for ad-
vertising and probably hasn’t a creative bone in his body. Dogs make our educational environment far more creative.
Smudge, a Chocolate Labrador Retriever and the official school mascot, wanders in and out of classrooms, sits on the
sofa and listens. And he hasn’t farted during a critique in two years.

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TIP NUMBER 1: GET A DOG
2

O
n the following pages you will see award-winning work from Miami Ad School students. Our
students have won more international awards than any other school in the world. For several
years in a row they’ve won the Grand Prize or Gold Award at the International Andys, Clios,
Athenas and Young Guns. This past year Miami Ad School students won the Gold and Silver One Show
awards. Students also regularly have their work showcased in international magazines including: CMYK,
HOW, Archive and Graphis. Even while interning in agencies Miami Ad School students have won pro-
fessional awards. Five of Leagas Delaney’s winning campaigns in the One Show Awards were created by
a Miami Ad School student intern. (Not surprisingly, this student was also named advertising student of
the year in Germany and Holland.) Two of the Cannes Lions won by Leo Burnett, Prague were created by
Miami Ad School students who were interning there. Another team that was interning at DDB, Chicago
concepted and sold the first ever global TV commercial for McDonald’s. The students missed their gradu-
ation ceremony because they were in Sydney, Australia shooting the spot. DDB hired the team and within
a year the Miami Ad School grads had finished their next TV commercial. The spot, for Bud Light, aired on
the Superbowl and was named best Superbowl spot by USA Today.

However proud we are, the purpose of this brochure is not to beat our chest. Instead we want to
make this publication useful to young people who may be considering a career in the advertising or design
business. So, wherever we can we’ll offer insights into how an ad was done, perhaps details about the strat-
egy or comments on the execution. We’ve asked some of the leading creative directors around the world
to comment on the students’ campaigns. Some of these CDs teach at one of our locations or invite Miami
Ad School students to intern at their agencies. Others have hired our graduates, but all have years of experi-
ence in mentoring. They are very free and open about their approach to creativity. Actually, there are no
secrets in this business. The great work is done by the risk-takers. They see the world differently and have
the courage to show what they have seen. Often it’s a simple thing. Something that everyone sees every day
and walks by without noticing. Can this kind of creativity be taught? Well, you have to be a creative person
in the first place. But a good teacher can peel away layers and years of crap, leaving the student ‘raw & ready.’
Sometimes a gentle nudge will do wonders. Sometimes a big kick in the...

S implicity. KISS. Keep it simple, stupid. The visual solution, thank you.
Who has time to read? Who does read, anymore? Just clear, to-the-point
communication. Life is short, as it is. Besides, if you want to know prod-
ucts and benefits, go to the internet and read all about it. But, for print ads,
let’s make it simple. Powerful images with lasting impact. Close-ups. Even
closer. Try to make it funny. Outrageous. Over-the-edge. Remarkably, the
one-two punch of the camera and the computer has given the students tools
so professional, student work can be as professional as the professional. And
if the professional was born before 1973, his work will be sloppy compared
to today’s kid who grew up with Sony Playstation and XBox. It’s all visual
these days. If there is a headline, usually the type size requires a magnifying
glass. No body copy whatsoever. Mostly, there’s just a tagline. But the photos
and illustrations in the ads are magnificent. Mouth-watering, hair-curling and
groin-tickling. In such an environment we give the following advice to our
art direction students. Shun stock photographs whenever possible. Fall in
love with the camera. Learn all you can about photographic lighting. Study
the great masters of photography. But haunt all the art galleries as well. Take
up “tagging” or whatever it’s called today. Collect hand-made signs. Take a
play-doh class with 2nd grade kids. Take up taxidermy; maybe you’ll put to-
gether a bull-frog band for a music campaign. Enroll in a Japanese calligra-
phy course. Collect hand-carved tombstones. Go to a flea market and collect
Ninja Turtle stuff. Ask your grandmother for her old photographs. Talk your
grandfather out of his early pornography. In other words, collect solutions
now for problems you’re going to have some day in the future. Become one
giant reservoir of useless, but interesting trivia.

TIP NUMBER 2: SIMPLICITY WITH VISUAL IMPACT

Award: Cannes Lion Silver, Addy Gold, selected to run in Archive magazine
Art Director: Hunter Fine
Copywriter: Jennifer Robison
Instructor: Basil Mina, CD, Leo Burnett
School location: Miami Ad School Prague

After graduation: Hunter was hired at Cliff Freeman, New York.

“Jen Hunter represent the best of what Miami Ad School does. They’re mature beyond their years. They spent their time in Prague as valued interns (at Leo Burnett) rather than tourists.

I’m a huge admirer of the School, particularly their international perspective - it takes students off campus pulls their head out of the Award Show annuals. At the end of the day, our whole industry
is going to benefit from that.

This brief for the Museum of Torture was a lot tougher than it looks. The inherent drama in the brand leads you down some pretty strange paths. You tread a fine line between “Olde World” Medieval
Kitsch some pretty sick shit. To be quite frank, I expected these two to stumble but they churned through tens of campaigns—some very good—before ending up here. I think the campaign is intel-
ligent and provocative, but I guess I like it most of all because it manages to use the phrase “rectal plough” without causing undue offense.”

Basil Mina is Regional Creative Director of Leo Burnett Europe, Middle East and Africa.

He currently lives in Paris, having lived and worked in Cape Town, Toronto, Hong Kong, Chicago, Johannesburg and Prague.

Award: Australian Young Guns Best Of Show, Graphis Magazine
Art Director/Copywriter: Danny Noval, Angela Finney
School location: Miami Ad School London
Instructor: Ron Seichrist, Founder of Miami Ad School

After graduation: Danny was hired by Young Rubicam, New York.
Angela was hired by BBDO, Chicago.

____________

Award: Student Advertising Young Gun Of The Year, Australian Young Guns Competition Gold, Andy finalist
Art Director/Copywriter: Satoko Takada, Patwin Lawrence
School location: Miami Ad School Minneapolis
Instructor: Melissa Johnson, Carmichael Lynch

After graduation: Satoko was hired by Leo Burnett, Tokyo.

“The student category at the Young Guns Competition was a privilege to judge and the work was exceptional. I would go so far as to say that it was as good, and on par with the bulk of
the rest of the work (in the professional division), which is very encouraging for the industry.

The jury quickly arrived at three Golds. The first Gold went to Kodak for a beautiful execution called “Baby”. It makes you realize that this is probably the most important photograph parents
will ever take, so who but Kodak would they entrust to preserve the moment forever. The ad displays a maturity and intelligence you so rarely see in student work today. It emotionally touches
you in a way that is so right for the Kodak brand. It was created by Danny Noval and Angela Finney at Miami Ad School.

...Another student team from Miami Ad School, Satoka Takada and Patwin Lawrence, also won a Gold, this time for a Bazooka Bubble Gum campaign that visually dramatized the aftermath
of an exploding Bazooka bubble. Again the work broke the mold.”

Mark Tutssel is Deputy Chief Creative Officer, Leo Burnett Worldwide.

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Awards: One Show Bronze After graduation: Monica was hired at Ogilvy Mather, New York. Award: Clio Gold, Andy commendation
Art Director: Monica Escobar Gaston was hired by Lapiz, Chicago. Art Directors: Hunter Fine, Brandon Mugar
Copywriter: Gaston Gorali Copywriter: Nathan Frank
School location: Miami Ad School Minneapolis School location: Miami Ad School San Francisco
Instructor: Matt Elhardt, Goodby Silverstein Partners

After graduation: Hunter and Nathan were hired at Cliff Freeman, New York.
Brandon was hired by TBWA/Chiat/Day, San Francisco.

“What do I like about this work? It’s visual. It’s tasteful. It communicates quickly. And it’s simple, simple, simple.

In most advertising, less is definitely more, and Monica knew that intuitively. And to the question of what makes a young creative successful––that’s easy. Success comes from having an
insatiable curiosity; showing the willingness to learn; putting the brand first and your ego second; maturity; and knowing there are more ideas where that one came from.

If young creatives need inspiration, they should look everywhere: museums, comedy clubs, the subway, the dinner table. The more you know, the more you can draw from.”

Josh Tavlin is Senior Partner, Creative Director of Ogilvy in New York. He’s created global campaigns for American
Express and IBM. And currently head up with my partner, Joe Johnson: Delta, Miller, American Express, SAP, Kraft and Hershey’s. Working at a big agency
is hard, but incredibly rewarding. If you can crack marketing problems for Fortune 500 clients, you can do anything.

*Note from the President of Miami Ad School, Pippa Seichrist, about the campaign above: “Monica and Gaston created this work in 1999, long before Microsoft started using the same
executional technique, white lines superimposed over a current photo. I’m not implying the ad agency creatives who produced the Microsoft work saw Monica and Gaston’s campaign
prior to doing theirs. Frequently students are perceived as not having the same business sense to create big brand ideas, but Monica and Gaston did obviously. And their idea was so
good that a big brand thought of it too.”

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Instructor: Diego Yurkievich, Weiden Kennedy
Awards: Young Guns Competition finalist, selected for Graphis book for New Talent
Art Director/Copywriter: Kevin Koller, Tushar Date
After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami.
School location: Miami Ad School Miami
Tushar was hired by Leo Burnett, Chicago.

Awards: Clio Gold and Addys Grand Prize
Art Director/Copywriter: Marjorieth San Martin, Jinho Kim
School location: Miami Ad School London

After graduation: Jinho Kim was hired by Fallon, Singapore.
Marjori eth was hired by Kolle Rebbe, Hamburg.

Awards: Young Guns Grand Prize, Clio Gold
Art Directors: Tom Zukowski, Christina de la Cruz,
Copywriter: Matt Burgess
School location: Miami Ad School San Francisco
Instructor: Eric Sorenson, Carmichael Lynch

After graduation: Tom was hired by Crispin Porter +
Bogusky, Miami. Christina was hired by Publicis West,
Seattle. Matt was hired at Best Buy in Minneapolis.

“What do I like about this PlayDoh campaign? I like the strategy. I can imagine that most of the work on this assignment had to do with imagination. Which is cool but expected and probably
not very convincing because I bet pretty much everybody would agree that using PlayDoh would be good for a child’s imagination. What I like about this is that it puts a stake in the ground.
It does something we always like to do and that’s pick an enemy. In this case the enemy being uninspiring toys.”

Alex Bogusky is Executive Creative Director, Crispin Porter + Bogusky; Young Guns Jury Chair. Under his direction, the agency has become arguably one of the
world’s most awarded. Alex has been profiled in Luerzer’s Archive, Communication Arts, Graphis, Adweek and Creativity. His work has been featured in The New York Times, The Wall
Street Journal, USA Today, Newsweek, TIME, Adweek, Brandweek, Advertising Age and Creativity as well as on national television and radio. In 2002, Alex was inducted into the American
Advertising Federation’s Hall of Achievement. And, on top of all that, Alex is also Miami Ad School’s Worldwide Creative Director.

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Award: Athena’s Best Of Show, Show South Silver
Art Director: Peter Cortez, Copywriter: Chris LaRocque

After graduation: Peter was hired by CDA Advertising in
New York. Chris works at O’Brien Advertising in Denver.

____________

Award: Clio Silver
Art Director: Richard Ardito
Copywriter: Grant Smith
Instructor: Ron Seichrist, Founder of Miami Ad School

After graduation: Grant and Richard were hired as a team
at Cliff Freeman, New York. Now they work for Eric Silver
at BBDO, New York

“When commenting on work, it’s all extremely subjective. I believe there is only one legitimate test in determining if an advertising campaign is sound. Do you say, “I wish I’d thought of that.”
I did with the Weight Watchers campaign and a lot of other work in Grant and Rick’s portfolios. They were obvious hires.

I think a successful portfolio needs to have a couple pieces in it that blow you away or even just one thing that is clearly “out of the box” thinking. I would rather see a fair book with a couple
of outstanding things in it than a very good book where everything is “close.”

There are three things I look for when assessing creatives: portfolio, personality, and a desire. They have to have a willingness to work long hours... and, most importantly, they love working
those long hours. This is mandatory if the team is just starting out.

Advice to young creatives: Study the One Show annual. Study DAD. Go back about ten years for each. Memorize every ad in there and then forget them. Do not try to replicate what
has been done. However daunting it may seem the only way to succeed, as a creative in advertising, is to carve out your own niche. After you’ve studied advertising annuals, pay equal
attention to films, books, and anything that creates that elusive spark.”

Eric Silver is Executive Creative Director for BBDO New York. As a writer and creative director, Eric has won every major creative award several times over, including Best
of Show at the One Show twice, Best of Show at the Clios twice, the Grand Prix at Cannes, and 6 DAD pencils. He has worked at Chiat/Day, Earle Palmer Brown, Wieden Kennedy,
FCB, Goodby Silverstein, Cliff Freeman and was a staff writer for The Late Show with David Letterman.

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Award: Addy Best Of Show
Art Director/Copywriter: Kevin Koller, Tushar Date
Instructor: Steve O’Connell, Crispin Porter + Bogusky

After graduation: Tushar was hired by Leo Burnett, Chicago.
Kevin was hired by Crispin Porter + Bogusky, Miami.

“Overlooking young talent is like a football team overlooking the draft. If you miss out on the up-and-comers, you’re missing out on the future. We must hire, and even more importantly, cultivate
junior talent in order to infuse the industry with the next generation of great ad makers. And as you can see with the Perrier work, the industry will be in good hands.

The secret of any good ad is to stop you in your tracks and grab you by the eyeballs. These do just that. Visually, they are very striking and beautifully art directed. I like the fact that they
credit the consumer with intelligence and you have to extract the meaning of them. Given the body is 78% water, clearly H2O, or in this case H2Eau, is vital to life.

I was first exposed to this art director’s partner while judging the Andy Awards. “Frog”, an ad for Baby Einstein was inspired (see page 18). It was fresh, original and unusual. It threw the rule
book away. It went on to win the Student “Grand Prize”. To me the ad demonstrated a natural talent for this business, so I found out who had created it and quickly hired Daniel Hofstadter
along with his partner Tushar, the creative responsible for these Perrier ads.

At the end of the day, advertising thrives on the infusion of fresh blood into agencies. Similar to the Perrier ads, to me, young creatives are “vital to life”. “

Mark Tutssel is Deputy Chief Creative Officer, Leo Burnett Worldwide. He is one of the world’s most awarded creative directors, and his work has garnered every major
industry award, including the prestigious Cannes Grand Prix. He oversees the creative for blue-chip clients including Kellogg’s, General Motors, McDonald’s and Procter Gamble. Prior to
joining Leo Burnett USA, Mark served as Executive Creative Director of Leo Burnett London. Under his leadership the agency was the most highly awarded agency in the world in 2001.
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Award: Clio Silver
Art Directors: Rafael Donato, Lauren Sala
Award: International Andys Grand Prize
Art Director/Copywriter: Jennifer Parke
After graduation: Rafael was hired by Spirit Advertising, London.
Lauren was hired by Secret Weapon, Los Angeles.
After graduation: Jennifer was hired by BBDO, New York.

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Awards: Clio Gold Instructors: Bettina Olf and Timm Weber, Creative Directors, at Springer Jacoby
Art Director: Menno Kluin After graduation: Menno was hired by Saatchi Saatchi, NYC
School location: Miami Ad School Hamburg
When this brochure was printed Menno was still in school.
1

Award: Clio Gold
Art Director: Isabela Ferriera
Copywriter: Miguel Hernandez
School location: Miami Ad School Amsterdam

The TV spot has a rugby player brushing the single tooth he has in his mouth announcing the
beginning of the rugby season. Miguel and Isabela did this spot while interning at KesselKramer
in Amsterdam.

After graduation: Isabela was hired by Young Rubicam, Chicago.
Miguel was hired by Euro RSCG, Chicago.

Awards: Graphis New Talent book Award: CMYK Magazine
Art Director: Kevin Koller Art Director: Bill Montgomery
Photographer: Erika Blanco Copywriter: Bridget Prophet
School location: Miami Ad School Miami School location: Miami Ad School Chicago
Instructor: Ron Seichrist, founder of Miami Ad School
After graduation: Bill was hired by TBWA/Chiat/Day, New York.
After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami. Bridget was hired by Merkley Newman Harty, New York.
Erika is a freelance photographer.

1

Award: Creatividad Mexico Student Grand Prix, International Andys Runner-up After graduation: Kelly was hired by The Richards Group.
Art Director: Kelly Andrews, Copywriter: Ian Graham Ian was hired by Ogilvy Mather, Los Angeles.

Award: Selected to fun in HOW magazine Instructor: Diego Yurkievich
Art Director/Copywriter: Kevin Koller, Tushar Date After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami.
School location: Miami Ad School Miami Tushar was hired by Leo Burnett, Chicago.
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Award: Addy Silver After graduation: Ali was hired by Leagas Delaney, Hamburg
Art Director/Copywriter: Ali Ali
Award: Selected for Graphis magazine for outstanding young talent. After graduation: Santiago was hired by Del Rivero Messianu Instructor: MIhai Coliban, D’Arcy Bucharest
Art Director: Santiago Mussfeldt, Copywriter: Chad Williamson DDB, Miami. Chad was hired by King, Stockholm.
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Award: Athena’s Grand Prize, Addy Gold, CMYK Magazine
Art Director: Kevin Koller
Instructor: Diego Yurkievich, Weiden Kennedy

Award: Andy
Instructor: Kier Beard, Freelance Art Director

After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami

“Why did I hire Kevin Koller? Who knows? I hire people for very weird reasons. I think with Kevin it was that he had a good book and I felt he had an even better soul. Nice hair too...
he’s been very prolific (since hired) and has had lots of stuff presented to clients and ultimately produced. The biggest disappointment for both of us was some really amazing IKEA TV that
he and his partner did that was very close to production but eventually died. The work was so good it actually weighed heavily on our decision to resign IKEA. And what do I think about
advertising education? I think in general it’s probably the best example of the old saying that you get out of it what you put into it. The teaching is in the trying. And without a lot of trying,
the student will not learn. And what about Miami Ad School’s approach? Well, Ron (Seichrist) was the originator of the whole concept of a portfolio school. And the reality is today it is very
difficult to get into the creative department without a polished student portfolio. There’s just too much competition. The teachers at Miami Ad School in Miami and all across the globe are
amazing and really varied in their personal approaches. I think this has a huge value for a student who will ultimately need to find their own style. And the more unique approaches you’re
exposed to, the easier it is.”

Alex Bogusky is Executive Creative Director, Crispin Porter + Bogusky.

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Awards: Glen C. Smith $5000 Scholarship,
Grand Prize International Andys, Clio Bronze
Art Director: Rune Degett
Copywriter: Dylan Berg
Instructors: Doerte Spengler-Ahrens and Jan Rexhausen
are creative directors at Jung von Matt

When this brochure was printed Rune and Dylan were
still in school.

1

Award: One Show Gold
Art Director: Michael Bae
Copywriter: Frankie Garcia
School location: Miami Ad School New York
Instructor: Donnell Johnson, Creative Director,
Spike DDB, New York, and Miami Ad School
graduate.

When this brochure was printed Frankie was
still in school.

After graduation: Michael was hired by
BBDO, New York. Frankie was hired by
Mcgarrybowen, also in New York.

Headline: Sun, rain, sun, rain, sun, rain, sun rain, photosynthesis, sun, rain, sun, rain, sun, rain, sun.
Tagline: It’s a process. Not processed.

Headline: SERVING SIZE: 1 tsp. Headline: WARNING: Our product has been tested on animals. They usually put it in their coffee.
CALORIES: 15 Tagline: It’s a process. Not processed.
CARBS: 4g
SCIENTISTS: 0

Tagline: It’s a process. Not processed.

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Award: Glen C. Smith $5000 Scholarship, Grand Prize,
International Andys
Art Director: Kevin Koller, Joel Guidry
Copywriter: Dan Hofstadter
Instructor: Bob Geffert, Beber Silverstein

After graduation: Kevin was hired by Crispin Porter + Bogusky,
Miami and Dan and was hired by Leo Burnett, Chicago.

Award: Andy, Clio Bronze Instructor: Will Roth, Grant, Scott Hurley
Art Director: Svetoslav Nikolov After graduation: Roberto was hired by Goodby Silverstein Partners, San Francisco.
Copywriter: Roberto Lastra Slav was hired by Publicis, New York.
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Posters for Gap back to school sale.

Award: FIAP (South America) Silver Award: Selected for Graphis book for outstanding new talent.
Art Director: Alexandre D’Albergaria, Copywriter: Rogerio Baran Art Director: Robin Milgrim
School location: Miami Ad School São Paulo School location: Miami Ad School Miami
After graduation: Rogerio was hired by Lapiz, Chicago. Instructor: Ron Seichrist, Founder of Miami Ad School

After graduation: Robin was hired by Saatchi Saatchi, New York.

“There was no brief, no assignment. Rogerio and Alexandre had read the sad news and, as good creatives, transformed it into a brilliant ad. As true creative people, they were inspired by
life (and death) itself, not by somebody else’s work. The original ad had a headline, and I suggested they remove it because it was unnecessary – the visual and the small copy were enough
to make you stop, understand and grieve. That’s one important thing you try to teach young writers and art directors. To get rid of things. When interns from Miami Ad School come to Lápiz,
they’re so full of hopes, dreams and good principles, the least we can do is try not to destroy their innocence.

We managed to hire Rogerio. Alexandre, though, was restless and hungry to travel the world.”

Laurence Klinger is SVP, Chief Creative Officer of Lapiz. His work has received all major International awards, and in 2004 Lápiz was elected Multicultural Agency of the Year
by the Association of American Advertising Agencies. He has worked in São Paulo, Barcelona and Lisbon but calls Chicago home now. In his free time, Laurence writes short stories. He
has two books published in the United States: Still Life with Fish and The Dignity of the Wounded.

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T he wonderful world of Words. Oh, for the Good Old Days. The six-
ties, for example. Back when Bill Bernbach had his New York Yiddish,
street-smart headlines wise-cracking like a Big Apple taxi-driver. And
in London, David Abbot was leading an erudite, very, very dry-witty group
of writers to stardom. A most wonderful time to be a copywriter. Copy was
King. Art directors were in awe and didn’t dare to reduce headlines to the
size of today’s tagline. Only the writers knew how to use a typewriter. But
sadly, over the years, Copy died and the art directors alone held the secrets
to the computer keyboard. Ads became a visual playground. Writers were left
to trickery. To somehow hide a headline cleverly in a photograph or an illus-
tration that the AD just couldn’t see. Writers went underground. They even
learned to dress exactly like an art director. Their portfolios were identical to
an AD’s book. They lay hidden, like a spider from the light. They wrote radio
(but usually no one paid attention to radio. Everyone should.). Writers wrote
TV, but usually the copy was buried in the visual somehow. Sure, writers were
still part of a team. Like beer and pretzels are a team. So, what if the pret-
zels are gone. Have another beer. But, hold on. While no one was looking,
copywriters made a comeback. Writers had been sneakingly sharpening their
teeth on the internet stuff that no one cared about. Words slipped under the
radar. Words came back with a vengeance. Poetry slams went national. The
spoken word. Hip Hop happened. Copywriters arose from the dead! So, fill
your portfolios with sentences, phrases, movie scripts, even a poem or two.
A short story. Some long copy ads. Radio spots–because they’re fun to do,
even if the CD won’t listen to your tape. Headlines? Why not? In the mean-
time, take a stand-up comedy class. Our students do. Get everything off your
chest. Speak up.

TIP NUMBER 3: WORDS ARE WORTH A THOUSAND PICTURES
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Award: Silver Lion, Cannes Awards Festival After graduation David was hired by BBH, New York and Steve works at Dimassimo.
Art Director: David Cuccinello, Copywriter: Steve Porcaro
School location: Miami Ad School Prague

Award: Addys Best Of Show, One Show magazine, Critique magazine
Art Director: Mark Andeer, Copywriter: Kristen Wallace

My teacher at Miami Ad School Minneapolis, Greg Hahn, said to our class, “You need at least one FGA (F#!?ing Great Ad) in your book.” With that, I went back to Miami to finalize my
book under the tutelage of Ron Seichrist. Ron is famous for two things, working you hard and knowing where your book is lacking. In my case, Ron wanted to see a smart campaign that
would showcase my typography skills.

Typical to Miami Ad School’s way of working I was teamed with a writer, Kristen Wallace. Kristen and I came up with many ideas that Ron helped us make sense of. Once we had the base
idea we worked non-stop; going to bookstores researching typography of different time periods and reading (yes, reading) classic books. The result is the campaign you see here, which
was honored with: Best of Show in the Addys, featured in The One Show magazine, Critique magazine and some others that escape me.

Mark Andeer, VP, Group Creative Director and Miami Ad School graduate. Mark joined BBDO Minneapolis in 2003. Previously he had successful stints at Lowe, New
York and DMBB, Detroit. He has a broad range of experience building brands on a variety of clients including: Hormel, Spam, Heineken, Sprite, Pontiac, MTV and Lego. In helping these
brands he’s won numerous awards including: The One Show, Addys, Art Directors Club and Graphis. Mark also teaches at Miami Ad School Minneapolis.

2

caller:

Is is possible I can get bread made into
a special kind of shape?

baker:

I don’t know if we shape bread. We do
make 6-foot bread that we bake special…

caller:

I do not know but I’m looking to be
wrapped up from head to toe…

caller:

Oh, you don’t sell the dough? See, I’m
an artist and I like to wrap myself in the
dough and layout on the beach and
bake myself inside the bread.

caller:

It’s safe for me to be in there right… To
be cooked within the dough, like a big
little Snausage?

You would know about these things. I
wouldn’t want to catch yeast infection or
something.

baker:

(Laughter)
I do not know if you can catch yeast Award: Clio Gold
infection but that’s the funniest thing Award: Clio Grand Prize Art Director: Kamal Collins, Mark Infusino, Copywriter: Adam Kanzer Photographer: Scott Cirlin
Art Director: Laura Metrano, Copywriter: Eddie Hahn School location: Miami Ad School Minneapolis
I’ve ever… How much dough do you
need man? After graduation: Mark was hired by Element 79. Adam by Saatchi Saatchi, New York and Scott was hired
After graduation: Eddie was hired by Mullen, Winston Salem. Laura went to TBWA/Chiat/Day, NYC by FCB.

As a copywriting student at Miami Ad School, Eddie Hahn, with art director partner, Laura Metrano, created this TV spot for Bell South. The chairperson of the Clio jury recommended
that this student work be awarded the Grand Clio of the entire show even over the professional work. The Director of the Clios, agreed such a distinction be given to the work, but alas,
the rules would not permit it. This was the only year that two Grand Clios were awarded. Eddie and Laura are the only students to have been awarded the Grand Clio.

The TV spots were originally an assignment for a class in radio commercials. After the spots were recorded, it was determined that TV was a much better medium for this concept. Eddie
Hahn, a copywriting major, wrote the three spots, using his own voice with 3 different dialects as he called the baker, the massage parlor manager and the undertaker. None of those
he called ever realized the call wasn’t real.

Eddie Hahn and Laura Metrano won the only Grand Clio ever awarded to students. Eddie works at McGarry Bowen, New York. Laura, now teamed with another
Miami Ad School graduate, Mandy Hoveyda, works at Ogilvy Mather, New York.

2

Award: Top Dog Gold Award: Clio Bronze After graduation: Susana was hired by Energia Young Rubicam, Lima.
Art Director/Copywriter: Michael Buss Art Director: Matt Parsons, Copywriter: Susana Pareja Matt used his art direction skills to create documentaries on the West
School location: Miami Ad School Miami School location: Miami Ad School New York Coast.

After graduation: Michael was hired by GSDM in Austin. 2

G
uerilla. An old term, perhaps. These days we call it “innovative media”. That includes
anything from post-it notes on the laundromat bulletin board to a BMW film on the web.
Sometimes the only way to reach your target is to get down in the street with them.
The big deal today has been product placement. Have you watched a football game recently? The
player’s name is nearly invisible, covered by a dozen sponsors. Or a better example, a NASCAR
race? Technology is able to change the sponsors to suit the audience. Better yet, simply make the
products themselves—the story. The next great series on American TV after “Sex in the City” will
be Budweiser getting in bed with Diet Pepsi. The idea is to somehow get the attention with a sell-
ing message in some way that doesn’t look like an ad. The consumer is so jaded that you must
disguise your sales pitch. Many people just don’t want to look at ads nowadays. Not magazine ads.
Not TV commercials. Sure, there was a time when everyone talked about great TV commercials
on their coffee break. The commercials were bolder and fresher than the program itself. Not
these days, Even in the conservative American TV, sex is rampant and grandmothers use four let-
ter words. TV commercials play things much safer. It’s simply not all about print ads or television
any longer. Those times are gone forever. So is mainstream advertising dead? Not likely. But it will
certainly change. If you want a glimpse of its competition, go on the web. You can use any kind
of vocabulary or four-letter words you wish, in any language you like. And best of all, the com-
munication can be (or seem like) one person-to-one person dialogue. That’s the real objective of
innovative media, isn’t it. “Psst. Hey, fella. Yes. You. I’m talking to you. I got a real good deal for
you. French postcards. The real stuff. Special price. Just for you. All the way from Gay Paree. Take a
quick look. You don’t like these, I can get you just what you want. Just for you.” It’s scary. All some-
one needs to do is to download all the stored data that exists on every purchase each and every
individual made over a given period of time, (Hey—don’t be naive—the data exists!) along with all
the other existing data on that particular individual. Put all that data together and it’s quite easy
to individualize both a message and the media to reach each and every one of us. Bottom line, it
all comes down to solving an advertising problem first, then finding the appropriate media to use.
Perhaps a simulated recording of mom saying, “Buy this one, dear. It’s OK.”

TIP NUMBER 4: SOLVE THE PROBLEM FIRST, THEN FIND THE MEDIA
26

Award: Clio Bronze
Art Director/Copywriter: Menno Kluin, Martin Edman
Instructors: Niklas Frings-Rupp, Oliver Voss
This idea was later purchased and produced by Bacardi.

Award: Top Dog Gold, Young Guns Finalist
Art Director/Copywriter: Katia Rojas, Marjorieth San Martin
School location: Miami Ad School Chicago
Instructor: Tom Lichen, Lapiz

After graduation: Katia was hired by Del Rivero Messianu DDB, Miami. Marjorieth was hired by Kolle Rebbe, Hamburg.

Award: Top Dog Gold After graduation Ana was hired by Del Rivero Messianu DDB, Miami. Award: DAD London Commendation Instructor: Tom Lunt, Leo Burnett Chicago
Art Director: Ana Testa Art Director: Rodrigo Fernandes Teixeira After graduation Rodrigo was hired by Avalanche.
School location: Miami Ad School Chicago School location: Miami Ad School Chicago

27

P
igs for sale. No doubt that was the first outdoor billboard. Maybe even carved by
Neanderthal Joe. (You had an extra hog or daughter, so you posted a sign outside
your cave for anyone walking by who was hungry or horny.) After the guy in the
next cave put up a slightly larger sign, Joe had an advertising problem. So, he added an
illustration of a pretty sexy Neanderthal girl, in fur-skin “hot pants”. Then Joe’s neighbor
made his illustration bigger. Joe decided to go higher and put his sign on a rock. Even-
tually he added neon and a revolving image. And so on until the twenty-first century.
Things haven’t really changed that much. Outdoor is still a great medium when it’s
good and even when its done poorly, it’s still pretty good. Sure, huge billboards clutter
up the landscape when there’s an amazing view of the Alps to see. But if you’re on the
highway and your stomach is telling you to stop and the billboard shows you a “Big Mac”
at the next exit, you’re grateful for the intrusion. The truth is, art directors and copy-
writers love the outdoor medium in any environment. First of all, it’s sooo big! Your
creation is standing there like a giant monolith for the whole world passing by. (Finally,
your mother understands what you do for a living. “My son does billboards”, she tells
the bridge club.) You are famous. And you deserve recognition because the medium
is a real test of creativity. What can you show or say to someone traveling 70 miles an
hour? Of course, not all outdoor advertising is on interstate highways. There are signs
in bus shelters where your message can be read leisurely along with the graffiti etched
into the metal benches. There are plastic signs on a wooden stake urging dog owners
to clean up after their dog. There are emergency signs. Stop signs. For Rent signs. Even
whole buildings wrapped in signs. But we tell our students to really respect outdoor
advertising. We remind them when they produce a newspaper ad–it lasts one day. But
a billboard, that’s something else. “Go rent a red convertible Ferrari,” we tell them, “and
race out on the interstate with your blonde curls flowing in the wind, drive by your hi-
larious billboard, give a slight wave of your hand and let your heart swell in your chest.
Smile a little smile, and drive on down the road.”

TIP NUMBER 5: IMPRESS YOUR MOM AND DAD
2

Award: Top Dog Gold After graduation Piper was hired by Lowe Partners, New York.
Art Director/Copywriter: Piper Hickman

Award: Show South Gold After graduation: Clarence was hired by BBDO, New York
Art Director: Alejandro Ortiz, Copywriter: Clarence Bradley and Alejandro was hired by Deustch, Los Angeles.
School location: Miami Ad School Chicago

Award: CMYK Magazine After graduation: Sage was hired by the Foley Group
Art Director: Nick Michaelson, Copywriter: Sage Rider in Minneapolis.

Award: Top Dog Gold After graduation: Colleen was hired by MC Saatchi, London
Art Director/Copywriter: Colleen Phillips

29

T
ime has come to put the ART back in art direction. While simplicity is the predominant
approach in print advertising, complexity, if artistic, also has its place. The history of Art
is filled with such contradictions. One extreme is always balanced by its opposite. Yin and
yang. Apples and oranges. But, unfortunately in too many cases the mechanical look of the com-
puter has replaced the vision of the artist. Yet, since the computer is merely a tool, in the hands of
an artist, beautiful things can be produced in megapixels. But, we see too many students sitting
in front of a blue screen waiting for an idea. Or they grab the quickest image they can find from a
stock photo book and toss it on a scanner. Ah, the scanner, perhaps the perfect example of Jekyll
and Hyde. Evil or good? What will it be? We advise our aspiring art directors to re-visit their child-
hood. Way back when they saw the world around them in vivid imagery. Back in the time when
they could be fascinated by a doodle-bug. Chances are they could draw. Most likely they were the
ones to put black “Hitler” moustaches on the lady principal’s photograph. Undoubtedly these kids
were the ones who could scribble out a reasonable likeness of Donald and Daisy Duck “doing it” in
the school gymnasium. Find that freshness of feeling again, we tell our art direction students. Look
hard the for the artists out there who never lost their vision. Take at look at folk art and “outsider
art.” Look at some of the outrageous photographers who produce images nearly impossible to
look at. Human flesh oozing from knots in tree limbs. Monsters invading a suburban ranch house.
But, beautifully, very skillfully, artistically, executed. Get up from your swivel chair and walk into
an art gallery. Or into a cathedral with monumental stain glass windows that bathe the wooden
carvings with luminous color. Visit a holocaust museum. Or a dog pound. Don’t forget to take a
camera with you. Or a sketch pad. Even a tape recorder. Sounds can be the very origin of a bril-
liant visual idea. Listen to subway conversations. Pay attention to the dialogue and accents; that’s
your next television commercial happening right in front of you. You’re in your 20s, 30s. Could you
really concept a TV spot set in a nursing home? Go visit your grandmother or an old aunt and pay
attention this time. Don’t give up concerts, but listen to music you never heard before. Re-create
your life by experiencing things you never knew existed. Then express yourself artistically.

TIP NUMBER 6: REVISIT YOUR CHILDHOOD CURIOSITY
0

Award: Silver Clio
Copywriters: Joel Guidry, Dan Hofstadter
Instructor: Steve O’Connell, Crispin Porter + Bogusky
After graduation: Kevin was hired by Crispin Porter + Bogusky and Dan was hired by
Leo Burnett, Chicago.

Copy for Red Bull Bedtime Stories: Tagline: Up All Night

Three Little Pigs: There once were 3 little pigs who, after some bad experiences with
shoddy home construction, built a very secure home virtually impenetrable by any intruder.
One stormy night, however, a loud banging on the front door interrupted the pigs eve-
ning. “Little pigs, little pigs, let me in,” cried the wolf. The pigs approached the door and
replied, “not by the hair on our chinny chin?” Cut the rhyming catch phrases!” The wolf
interrupted. “You’re in danger!” You have to leave the house right now!” With the pigs
attention focused on the wolf, they didn’t notice the closet door open and a figure creep
out behind them. The pigs stared at the wolf and answered, “You can’t fool us! You might
be big and bad, but we’re smart.” The wolf continued pleading his case in vain as the
figure stopped just behind the pigs and raised an enormous meat cleaver over his head,
his wild eyes and blood smeared apron illuminated with each flash of lightning. The pigs
laughed, oblivious, “Forget it, Wolf, with all these locks and bolts on the door, you’ll never
get in!” Then a voice from behind them answered, “and you’ll never get out!!”

Goldilocks: The girl with golden locks arrived at a house deep in the woods just before
nightfall. She was delivering a letter for an old blind man in town. No one answered
when she knocked, so she entered the house and was pleased to smell porridge. Three
bowls were set out, so she helped herself from one and found the porridge to be just
right. She then became very sleepy and decided to go upstairs and retire. She chose
one of the three beds and found it to be just right. She took out the letter and laid it on
the night table next to the bed. Just before she dozed off, something occurred to her. She
never read what the man had written. She reached for the letter, but froze before it was
opened. From down stairs, she heard a deafening roar and what sounded like three fero-
cious bears clawing their way inside the house and up the stairs. The girl sprang to her
feet, ran toward the door and discovered some very bad news. First, the door had only
led to a closet, and second, stuffed inside were dozens of foul smelling corpses flattened
into human skin rugs! As she stared in horror, the bears crashed through the bedroom door
and bore down on her. All she could do was look down at the letter, still in her hand. It
read, “This is the last one I’m sending you this week.”

“So, what did the Clio judges think about this campaign? The judges were exposed to over 10,000 ads in five days. They had to look at all of them, judge them and award a few. Most of
the ads looked “Brazilian”: a simple idea, a strong visual (mostly a photograph) no more than one sentence of copy, and logo. After 9,999 ads that were done this way, the Red Bull ad felt
very fresh: totally different from the ad that wants to be understood in only two seconds. This ad was confident that people would be curious about it and look at it longer. That was worth an
award. If you take the time to look at it, you find out that the ad is really done with lots of attention to detail: first the brilliant copy with a clever tag line, then the nice illustration, and overall
the whole look. I like this work because it reminds me what I learned at Wieden Kennedy. One credo of the agency was: “Never give them what they expect”. If you think of Red Bull you
wouldn’t think of a layout like this, would you? This ad is 180 degrees from typical ads of young people with beautiful people and sports-like photography. This ad tells me something about
the person who did it. He has his own style, own beliefs and own way. Nice to feel that in an ad.

And what about Miami Ad School education? I love it. I wish it had been around when I needed it. The students have about 20 different creative directors that they work with in only two years.
(I had only about five in my whole life.) The students go abroad and experience first hand how it is to work in the US, Brazil, Europe––anywhere in the world. And the students know what they
are talking about after that time. After only one year, the Miami Ad School Europe location produced the best student of the year in 2004––awarded by the German Art Directors Club. And
don’t think this the only talent coming out of there.”

Oliver Voss is the Executive Creative Officer/Partner of Jung v. Matt. He’s also one of the most awarded creatives in Europe. After guest teaching at Miami Ad School for
years and hosting the school’s interns at Jung von Matt, In 2003 Oliver co-founded Miami Ad School Europe.
1

Award: Top Dog Silver
Art Director/Illustrator: Karla Laugerud

Award: Top Dog Gold After graduation: Victor was hired by Premier Euro, Puerto Rico. David founded
Art Director/Illustrator: David Steinberg, Copywriter: Victor Cabezas an interactive advertising agency, Steinberg Advertising + Design, Miami.

Award: Top Dog Gold
Art Director/Illustrator: Svetoslav Nikolov
After graduation: Slav was hired by Publicis, New York.

Award: Top Dog Gold
Designer/Illustrator: Christian Liu
Instructor: Ron Seichrist, founder, Miami Ad School.
2

Award: Clio Silver
Art Director/Illustrator: Matthew Woodhams-Roberts
Copywriter: Rick Herrera
Instructor: Will Elliot, Goodby Silverstein Partners
After graduation: Matthew was hired by TBWA/Chiat/Day, NYC

Award: Clio Bronze Award: Appeared in CMYK magazine Award: Top Dog Gold
Designer/Illustrator: Monika Pobog Malinowska Art Director/Illustrator: Kevin Koller Art Director/Illustrator: Svetoslav Nikolov
School location: Miami Ad School Miami School location: Miami Ad School Miami School location: Miami Ad School Miami
After graduation: Monika was hired by Publicis, New York. After graduation: Kevin was hired by Crispin Porter + Bogusky, Miami. After graduation: Slav was hired by Publicis, New York.

T ypography just ain’t what it used to be, say some creative directors. Stu-
dents’ portfolios just don’t exhibit the strength in designing with type
as they did in the 70s and 80s. Some creative directors insist students
don’t study type in school. Some blame the demise of typographic excel-
lence on overuse of the computer. Perhaps everyone is using the computer
too much, but there’s a different reason the computer may be contributing
to the problem. We call it the “Big Picture”. World-wide, students sit at a Mac
that has a monitor of about ten inches square. By the time the student pulls
up the necessary boxes of computer tools, the available screen area is about
the size of a rat’s ass. In the old days, back in the Middle Ages, before com-
puters, art directors had to trace each letter actual size on a layout and then
paint the letterforms with a brush. The shape of that letterform was etched
on the art director’s brain forever. Working big, the art director could “feel”
the space and the result was a beautiful page of type. We can’t go back to
working by hand, can we? But we offer a great solution to the type dilemma.
Simply buy a giant monitor screen. Too expensive? Then do what our clever
students do. They tile their work out very large, correct the type and then
reduce the work to size. The results are dramatic, as good as the “good ol’
days”. It’s simply not true that students are not as talented as the old dogs of
yore. In fact, take a close look at ads that are running currently in magazines.
The typography doesn’t knock your socks off. Why not? One reason is there’s
not much copy on most ads these days; everything is visual. The professional
type is not much better than the student type. Now look at editorial design
in magazines. Lovely type. But in an ad, student or professional, there’s often
no headline to beautify. However, given a typographic opportunity, students
can do the job. Take a look at the typographic design in the next few pages
that won big. These guys get the Big Picture.

TIP NUMBER 7: LOOK AT THE BIG PICTURE

Award: Type Directors Club Of New York Gold After graduation: John was hired by Goldforest Advertising, Miami.
Designer: John Tommervik

Award: Type Directors Club Of New York Gold
Designer: Steve Timana

_________

Award: Top Dog Gold
Designer/Photographer: Viveca Ljung
Instructor: Judy Penny

P
hotography is no longer a bastard child. In fact, photography is the pre-eminent expression
of our world. All of us record all of our joys and all our sorrows photographically. Births,
Deaths, and every high and low point of our lives. In fact, we tell our students, “Get thee to
a camera store”. And these days they come back with a digital camera that downloads their images
directly into the computer. No film, No processing. No waiting. Even copywriters now produce
visual images as impactful as any art director. We also tell our students to “Shun stock photography
books”. And they do stay away from stock photos ninety-eight per cent of the time. The exceptions
happen when, for example, they need a penguin. And in Miami there are many, many parrots,
but we’ve yet to see our first penguin on South Beach. After our students have fallen in love with
photography, they avoid “stock” anyway. They found they can do it better themselves. But they do
study the great photographers. Then they discover the weird ones and Weird is always interesting
to young people. Weird is where they live, how they live. They pour over the weird stuff in fashion
photography, Remarkably fast, they shoot photographs that rival the things in Vogue, Paper, Flaunt,
Zoom. The students also get good at “street photography”. Even catalog photography. Food. Por-
traits. They get tremendous confidence because they can shoot whatever they want to shoot. We
also see a big change in the way they use Photoshop. As they get more skilled at photography, the
image manipulation often begins before the photograph is taken. They also see their immediate
environment more critically. They scout the city for interesting sets for photo backdrops. They cast
local characters. They even become an observer of light and atmosphere. This, of course, changes
the way they think, the way they concept. Ideas happen that never could have happened before
they knew their way around photography. This way of thinking also spreads into their student tele-
vision commercials. No longer do they pick up a video camera and treat it like a “point and shoot”.
They use a careful approach to lighting, with reflectors and scrims and they understand what they
are doing. We see some video spots lit “high key” and others straight out of a Rembrandt painting.
The only issue we find are with a few of the older instructors. Some of us still have a hard time
looking at photographs and commercials on a lap top. We remember the old days of storyboards
and contact sheets. Of course, some of us have bi-focals and it’s hard to focus on the lap top screen
and we have to sit while the student skillfully operates the mouse. Humiliating, really.

TIP NUMBER 8: PHOTOGRAPH THE REAL WORLD, THEN YOUR DREAMS
36

Award: Selected to run in Popular Photography Magazine Photographer: Daniel Lugo Award: Selected to run in HOW Magazine
Photo: Morris Moreno School location: Miami Ad School Miami Photo: Samantha Scott
School location: Miami Ad School Miami School location: Miami Ad School Miami
After graduation: Samantha is now a freelance photographer. She works in the US and
37 Japan and has recently been published in Ocean Drive Magazine, Lincoln Road Maga-
zine and Florida International Magazine.

Award: Top Dog Gold
Photo: Morris Moreno

After graduation: Morris is a freelance photographer. His latest projects
were for Complot and Home Design magazines.

Photographer: Daniel Lugo Photographer: Ken Pao
School location: Miami Ad School Miami School location: Miami Ad School Miami

Photographer: Erika Blanco After graduation: Erica is a freelance photographer. Her recent work includes shoots for Western Union, Home Magazine
School location: Miami Ad School Miami and Fashion Week of the Americas.
Photographer: Nadine Kahn School location: Miami Ad School Miami
After graduation: Nadine is a freelance photographer. Her most recent shoot was for BellSouth. 39

Photographer: Jan Riggert

Photographer: Jan Riggert
School location: Miami Ad School Europe (Hamburg)

Photographer: Joanna Swistowski
School location: Miami Ad School Europe (Hamburg)

Photographer: Ken Pao Photographer: Joanna Swistowski
School location: Miami Ad School Miami School location: Miami Ad School Europe (Hamburg)

0

Award: DAD Commendation At the time this brochure was printed Rune was till in school. Award: Top Dog Gold
Photographer: Rune Degett Photographer: Daniel Lugo
School location: Miami Ad School Europe (Hamburg) School location: Miami Ad School Miami

Award: Top Dog Gold At the time this brochure was printed Daniel was till in school. Award: Top Dog Gold Award: Selected to run in How Magazine
Photographer: Daniel Lugo Photographer: Daniel Lugo Photographer: Danny Noval
School location: Miami Ad School Miami School location: Miami Ad School Miami School location: Miami Ad School Miami
After graduation: Danny was hired at YR, NY.

“Great photography tells a story. At Miami Ad School you are forced to develop the skills to take the photos you need for your work, because we loathe stock photography. Some students
actually become outstanding photographers, like those featured on this page. For example, notice the tension in the tree shot - nature’s imperfect backdrop, bent and snarled, combined with
strong, elegant styling - an editorial winner. It is very strong, themed to perfection, Man (in this case, woman) vs. nature... brilliant! And the cat photo: The mystique of the feline species has
always been a strong theme in fashion. Somehow the photographer here summons Marlene Deitrich.”

Ian Brooks is sought after for his ability to tell stories through his photographs. His work has been featured in L’Uomo Vogue, Harper’s Bazaar, Elle, Paper, New York
Times Magazine. Ian shoots for massive clients from Dreamworks to Revlon and even a nude Dennis Rodman.

1

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