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Contents
WINTER 2018 | VOL. 33, NO. 4, ISSUE 171

“Typefaces of the Fallen” Agency: GREY Canada Client: WSIB Photographer: Kristof Arasim (pages 49, 98-99)
DEPARTMENTS FEATURES
04 | Masthead | Advisory Board 24 | The Herstory of Advertising
08 | From the Editor by Will Novosedlik
194 | Artist’s Statement 2018 ADVERTISING AWARDS
COLUMNS 39 | Introduction
14 | Opinion 40 | Jury
Don’t be Mad 47 | Young Blood
by Rebecca Brown 51 | Campaign
16 | Perspective 65 | Advertising
A Long-Copy Ad for 170 | Broadcast
Old People in Advertising 192 | Index
by Suzanne Pope
18 | Issues
The Case for Diversity
by Lily Wang
A PAPPLPI E
L IDE D
A RATRST •S S• UWMI M
N TE ER R2 2001 8
1 8• •P P
AAGGE E00030
Masthead
WINTER 2018
E D I TO R I A L A DV I SO RY B OA R D VO L . 33, N O. 4, I SSU E 1 71
Editor ................................................................................... Will Novosedlik

Art Director & Publisher ............................................... Georges Haroutiun
Associate Publisher ...................................................................Vicki Hoysa
Designer ............................................................................... Gary Darakjian
Media Consultant .................................................................... Lee MacNeil
Administrative Associate ....................................................... Jennifer Fong
Matthew Clark, BFC, CGD Vanessa Eckstein Awards Coordinator ........................................................... Bonnie Langlois
Principal & Creative Director, Founder & Creative Director, Technical Consultant ......................................................... Mark Thompson
Subplot Design Inc. Blok Design Online Editor ...................................................................... Sabrina Gamrot
Controller ................................................................................ Rita Oukayan
Contributors ..............................Rebecca Brown, Suzanne Pope, Lily Wang
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From the Editor
PLAYING IN
TRAFFIC
Or, how I was saved by the written word
As some of you already know, this is my first issue as editor. about advertising. The next decision was to choose an issue to fo-
My scope encompasses the editorial content of the front end of the cus on. Given the surge of #MeToo and #TimesUp, it seemed ap-
magazine. The awards section is beyond my remit – which is great propriate to focus on the challenges faced by women as they try to
because even though I have been writing about design, advertising, build a career in advertising – a business which is sadly still bound
brand and business for many years, I am not the guy you want to de- by rules created by men for men at a time when the only women in
cide whose work should be winning awards. That task is far better left the office were the ones working in the typing pool. (Yeah, I’m that
to more active and current practitioners of the craft. old. If this were HBO’s The Newsroom, I’d be the character played
To be honest, I have always been more interested in the relation- by Sam Waterston).
ship between what we do as creatives and strategists and the cultural I am very excited about our columnists. Agency veteran Suzanne
and business context in which we do it. Like a ball player too long Pope has given us a punchy perspective on the value that a senior
in the dugout, I actually ran out of creative steam at mid-career. I freelancer can bring to the party. Entrepreneur Rebecca Brown
just wasn’t getting as many base hits as I had in my younger years. tackles the prickly subject of expressing anger in a world where
It happens. So I shifted my focus to things like business and brand women are expected to be docile and polite (while men are not).
development, and something surprising happened. I discovered a And strategic planner Lily Wang explores the ways in which out-
creative outlet that suited my capabilities far more effectively: the dated agency tropes prevent us from appreciating and profiting
written word. It saved my life professionally and psychologically. from the untapped value of diversity.
I’m known to have a critical perspective on the issues faced by our For the core feature, I had the privilege of speaking with some
business. As I say on my personal website, I like to “play in traffic” of the most accomplished women leaders in the business. It was
at the intersection of design, brand, business and innovation. That humbling. In the course of those conversations, I realized that, like
means two things: I am rarely happy with the status quo, and you’re every other man in this business, I too am blinded by unconscious
going to hear about it. There are of course risks with that. I have bit- bias even though I have always worked shoulder to shoulder with
ten the hand that feeds me often enough to limit my earning power women from the earliest days of my career.
over the years, and while I am comfortable, I could have made a lot I hope you find this issue to be as stimulating and thought-pro-
more dough if I had just shut my mouth and played nice. But it just voking to read as I have in bringing it together. Let’s go play in some
isn’t in me to do that, and I’m not going to change now. traffic, shall we? wn
One of the first decisions I made as editor was to ensure that the
editorial content was aligned with the awards content. Accord-
ingly, this being the advertising awards issue, all of the articles are Will Novosedlik, Editor
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‘speedy,’ the type and layout evoke the feeling of time being stretched.”
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2018 Winners
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Columns
0PINION
Rebecca Brown is founder of Crowns, a full service consultancy advising the
cannabis industry
It’s OK for men to get angry at work. But if you’re a woman, watch out . . .
DON’T BE MAD
8 I was in a restaurant, sitting across the table from the president of a I left to start my own agency, it was in no small part because of this
company who had just utterly screwed me over. We were sharing truf- particular aspect of corporate culture.
fled polenta fries, but I was livid. But not everyone can leave. And the muting of women continues to be
For reasons of money, this president had behaved duplicitously. For a loss for all industries, particularly for advertising, an industry which
reasons that are more nuanced, she had subsequently sent me a flattering literally traffics in creative expression. And an industry that is currently,
note and invited me for a glass of chardonnay. I did not want chardon- to my mind, in the process of self-immolation, not just because it’s spe-
nay. I wanted truth, justice and the aforementioned money. But I felt I cifically inhospitable to female anger, but because it seems incapable of
had to go. I didn’t want to seem mean. reading the tea leaves of the times and ensuring the presence of diverse
It became clear very quickly, though, that justice wasn’t on the menu. voices in all senior roles, especially senior creative roles. It’s not enough
I was being served, instead, a plate of locally sourced misdirection with to invite diversity to the table, we have to make it permissible for diverse
a side of free range denial. At which point it all struck me as absurd. voices to express diverse viewpoints and sentiments once they’re there.
Why were we meeting in a restaurant rather than hashing this out in a This includes expressing anger. Even for women.
boardroom? Why were we instead play acting at being girlfriends get- It’s because these limits strike me as arbitrary and debilitating that
ting together for a drink? Why, more to the point, couldn’t I just declare I’ve started to try to change the script for myself now. I’ve been get-
my justifiable anger? So, I did. I told her just how angry I was, and why. I ting inspiration from people like Rachel Traister, whose book Good
got specific. I was, I fear, somewhat loud. and Mad: The Revolutionary Power of Women’s Anger explores how we
When it comes to being demonstrably pissed off in the business got here and what a bit of full-throated animus can do for us. And from
world, more than one study has shown that expressing anger tends to actress Tracee Ellis Ross, who made a passionate plea to woman as part of
increase men’s professional influence and impact, but has the opposite her TED talk in April in Vancouver. “Your fury is not something to be
effect for women. Women who get angry in the workplace are regular- afraid of. It holds lifetimes of wisdom. Let it breathe and listen.”
ly written off as hysterics or troublemakers. People start talking about I’m not suggesting that we abandon all civility. It’s not always advis-
tone of voice and aggression. The word ‘bitch’ inevitably comes up. able to tear a strip off someone. But I wouldn’t mind blowing up the
Anger and aggression aren’t nice and women are meant to be nice so requirement that women must be nice to be taken seriously or that we
when we cast niceness aside to chase ambition or money or justice, it’s must be friendly and polite in order to be heard. And the accompanying
transgressive and this makes men - and many women - uncomfortable. fear on our part that if we don’t bend ourselves into this shape, we will
As anyone in business knows, discomfort renders the rungs of the never succeed. Because following this paradigm means that only those
corporate ladder downright slippery. And as galling as this is to me, it’s of us willing to bury part of ourselves will “make it”, while those of who
exponentially worse for women of colour and people of different can’t or won’t perform this act of partial suicide – those who are too
gender and sexual identities. loud, or outspoken or weird or angry – will not be allowed in.
By design, though, I’ve been mostly exempt from having to worry Take that odd restaurant meeting — during which the president and
about this. I’ve spent much of my career in founder or partner roles. But I shared a plate of polenta fries while I also shared my rage and she de-
4 years ago, I took a position as vice-president with J.Walter Thompson, nied her not niceness. The first thing I felt, after I walked out the door,
and in the three years I spent there I saw firsthand how women muted was terrible for going off the way I did. The regret was visceral. It was a
their emotions and expressions, particularly on the rage continuum. dangerous thing I’d done, thoughtless and unseemly. I had broken the
That level of emotional self-policing was a bit too much for me, and code, and it felt a bit terrifying. Clearly I had to apologize.
wasn’t something I could see myself doing long-term (my JWT col-
leagues would most likely say I didn’t do it short-term either). When But I didn’t.
8
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Columns
PERSPECTIVE
Suzanne Pope teaches copywriting to advertising students at Humber College in
Toronto. She is the founder and editor of AdTeachings.com.
In an industry’s fight to survive, creative veterans are the new secret weapon
A LONG-COPY AD FOR
OLD PEOPLE IN ADVERTISING
8You might read the title of this column in one of two ways. Perhaps try parties and the supplier gifts at Christmastime, your new reality will
you’ll think old ad people are the audience I wish to reach. Or maybe be a painful one. But if you really love making ads while having genuine
you’ll decide that aging ad people are the product I wish to sell. Good work-life balance for the first time in your career, you’ve pretty much
news: You’re right! I can’t remember the last time I saw a single-minded won the lottery. You’re possibly in the best years if your working life.
brief, and you probably can’t, either. So, let’s all buckle up and see if we So, why don’t we hear more about the importance of freelancers? Be-
can’t somehow reach both destinations at once. cause the increasing reliance on contract staff points to the deepening
First, if you’re an older freelancer, congratulations. Your advanced cracks in the foundation of our industry. Advertising is more volatile
years and experience have far more value than you’ve been led to be- than ever. Agencies know their work has to be better, faster and cheaper,
lieve. Yes, you’ve been aged out, downsized, let go or outright fired, but but more than a decade after the arrival of the smartphone, they’re still
the humiliation of those moments is but a minor subplot to your story. Your wondering how to make that happen. When I started in advertising, a briefing
larger story is this: You might have lost your agency email and your involved three people: me, my art director and the account person. For
dental plan, but you’ve hung on to a far more valuable asset: all the stuff big projects, the account director would bring along a junior, for a grand
you’ve learned in the past two decades. As a senior freelancer, you have total of four. Today, it’s normal for a briefing to be attended by a dozen
a deep database of methods for delivering good work efficiently. And staff members, from planners to digital producers to project managers
that database is a resource that is privately celebrated at the highest lev- and, yes, creative and account service. It’s true that our media opportu-
els of our industry, even though it’s seldom acknowledged publicly. nities have quadrupled in number since the 1980s, but the client dollars
Why is that database celebrated? Because every agency still has a haven’t. Neither is the time allotted for creative and production.
bunch of jobs due by EOD, and there aren’t enough creative hours in the The paradox here is that a freelancer in her 50s is probably better
budget to allow for false starts. Good freelancers have approaches for equipped to navigate the digital age than the agencies that once em-
solving advertising problems quickly and well. You know all about these ployed her. Successful freelancers are set up for speed and flexibility.
approaches, because you were using them way back when ad agencies Agencies, not so much. To an ad agency, PR firms, in-house agencies
were still calling couriers to pick up the typesetting. You also know what and management consultancies are existential threats. But to the en-
the junior team doesn’t, which is that none of these approaches will be terprising freelancer, they’re just three more sources of well-paid work.
found in the planner’s 90-slide PowerPoint deck. Senior freelancers understand all the ways in which our business
Technology has changed a lot about advertising, but there’s one truth hasn’t changed. When we see yet another brief calling for content that
that persists: In between Instagram posts from the Croisette, every authentically deepens consumer engagement, we don’t find ourselves
agency produces hundreds or thousands of pieces of work that have confused. It seems modern advertising is embarrassed by the need to
zero hope of flattering the creative ego. They bring no opportunity to sell product. Freelancers aren’t. And we never will be.
win awards, and you won’t even get a catered lunch out of it. Those de- In its 2016 census, Statistics Canada counted 69,000 people work-
liverables are what pays the bills, and getting them out the door often ing in advertising and public relations, and it reported that nearly 17%
depends entirely on the professionalism of the freelancer. of us were self-employed. This figure is grossly inaccurate, of course.
My art direction partner of many years, Gordon Marshall, describes Smart ad people have always understood that 100% of us are effective-
freelancing as being dedicated to the four Ps of advertising: pitches, ly freelancers. And we know that in advertising, the most precarious
panics, picking up the trash and pharma. In my experience, that just position is the one held by the person who’s sure her role is full-time
about covers it. If you can’t quite let go of the exotic shoots, the indus- and permanent.
8
A P P L I E D A RTS • W I N T E R 20 1 8 • PAG E 1 6
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Columns
ISSUES
Lily Wang is a strategic planner at Toronto-based Central Station
Why do we, as an industry, continue to rely on tropes that reinforce

tired ideas of womanhood?
THE CASE FOR DIVERSITY

8Whether it’s the busy mom, martyred wife, millennial ingenue or places the onus for change on the individual and ignores the legacy of
the working professional, outdated and inaccurate female archetypes cultural and institutionalized obstacles that prevent women – especial-
in advertising persist. ly women of colour – from attaining positions of influence and power.
By design or just plain old indifference, advertisers decline to explore Brands need to stop belittling women with “You go girl!” rhetoric in
experiences that run counter to their biases. Even as women make gains support of her personal agency – it’s not her unwillingness to assert
across agencies and marketing departments, stereotypes continue to go herself that keeps her from self-actualization, but the everyday injus-
unchallenged. This blinds us to the value of diversity as a business ratio- tices that push her further away. Only those with options would find
nale and undermines efforts to bring legitimacy to female experiences. pep talks equating self-worth with purchasing power relevant.
The result is that ads are not resonating with women: To a large extent, these misconceptions can be tied back to agency
u 66% of Canadian women feel advertising contains too many culture. Even though society has experienced significant demographic
gender stereotypes shifts in the last 20 years, agencies have been slow to catch up.
u 63% don’t believe ads accurately represent modern mothers Pop open the hood and you’ll see most agencies lagging behind other
u 30% say they can “identify with most of the women they see in ads” industries in matters of organizational structure, hiring practices and
(Strategy, 2018) consumer intelligence. Go deeper and you’ll find that women make up
Women simply don’t like what they see. And why should they? only 3% of creative directors worldwide. Black representation in pro-
They’re portrayed as ornamental sex objects or generic role models fessional and management roles hovers around 5%, and they’re half as
who don’t stand for anything. I’ve come across creative briefs where likely than their white counterparts to work in a creative or client ser-
female consumers were described as being “strong,” “busy,” “health vice capacity. Multicultural marketing is still being segmented from
conscious,” and “optimistic” – words devoid of meaning or insight into mainstream work, and qualification inflation and low entry-level pay
their internal motivations. If “she” was a real person, she’d literally be disqualifies all but the most privileged and well-connected candidates
the least interesting woman in the world. That’s because she isn’t real, in today’s agency recruitment process.
but an amalgam of averages that only exist within a research deck. These factors filter out people from diverse backgrounds and work
Real women don’t want to be pandered to with hollow archetypes. to stifle debate, innovation and healthy competition, all in the name of
They want an acknowledgment of the taboos that hang over their cultural “fit”. As a result, ads frequently reflect the affluence of those in
existence, whether that’s showing blood (Bodyform sanitary pads), charge of making them, which affects decisions like casting, language,
addressing the struggle to hide normal bodily functions (Thinx un- humour, and media investment. They deliver a vision of aspiration and
derwear), or recognizing personal challenges outside the context of familiarity to an increasingly narrow segment of the population.
motherhood and marriage (Secret deodorant’s Stress Test campaign). Why else does the Gen X cliché of juggling work and family persist
Women’s advertising could address the double bind of being part of a even though the latest Google research report shows that women of all
world that wasn’t made for them yet relies on their daily participation to ages are less likely than dads to watch YouTube for parenting guidance?
function (often as emotional and unpaid labour). Advertising has been Or that millennial moms are more likely to prioritize developing per-
slow to embrace the idea that women can exist to serve themselves as sonhood over parenthood?
much as they do others. That’s why there’s a disconnect between what “Follow the data, not the stereotype,” says the report. “A woman
women consider “empowerment” and what the advertising industry might want to build a house, not build her beauty regime. Moms might
thinks it is – wrongly conflating it with confidence and willpower. This be seeking gaming tips, not parenting tips.”
...............ESTABLISH YOUR LEGACY
WITH THE 2019 PHOTOGRAPHY &
G ILLUSTRATION AWARDS
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A P P L I E D A R T S M E D I A
Photo: KC Armstrong, Winner 2018 Portrait Photography
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Columns
It’s why even as more women choose to stay single and buy real estate 2018 demonstrated, combatting the male dominated status quo isn’t
alone, ads still depict nuclear families living in immaculate single-family just about hiring more women. It’s about not harrassing them and not
homes. It’s why women of colour are rarely seen in ads even though rewarding senior executives with outsized exit packages for doing so,
they’re concentrated in major markets across Canada, and over half while sweeping their activity under the rug.
hold post-secondary degrees with disposable incomes to match. And Simply said, diversity isn’t fluff: a study out of North Carolina State
it’s also why women over 50 are ignored: advertisers continue to tout University summed up the performance of 3,000 publicly traded com-
18-35-year-olds as being more valuable than anyone else. Clients insist panies and concluded that diverse workforces – meaning a mix of gen-
that agencies look like the people who buy their stuff. Marketers must ders, ethnicities, sexual orientations, and disabilities – served up more
open their eyes to the value of diversity if they want their businesses to innovations in any given year, and their products were more resilient
grow. Their ranks must reflect the communities they serve in order to during the 2008 financial crisis than their less diverse competitors.
repair the immense empathy gap that is eating into their bottom lines. The authors concluded that “teams with a broader range of people
When was the last time anyone in an agency experienced deprivation? have a wider range of interests, experiences, and backgrounds to draw
Sexual confusion? Being blissfully childless? Instead, agencies pad their upon. They understand potential users of products better than less
own assumptions with flawed, reductive research that ignores the larger diverse teams. And they tend to be better problem-solvers, coming up
context of people’s lives. To break new ground, creatives and strategists with blue-sky solutions more often” (Fast Company, 2018). Moreover,
must cultivate greater empathy. according to McKinsey (2015), “[Companies] in the top quartile for
When hiring, agencies could re-evaluate the types of people who gender or racial and ethnic diversity are more likely to have financial re-
qualify for these jobs and nix the culture of entitlement and excess that turns above their national industry medians.”
insulates them from a huge cross-section of society. Maybe they should So, what can we do?
be vetting for traits like originality, curiosity and grit rather than prior u implement hiring processes that reduce the influence of unconscious bias
industry experience. There’s even an ‘app’ for that: last year StackAdapt, and funnel more unconventional people into the industry.
a machine learning advertising platform, released “Unbiasify” to miti- u encourage more collaboration between strategists and creatives to make
gate bias in the hiring process. It’s a program that conceals the names all advertising more insightful, interesting, and directional, and find
and photos of candidates who use online recruitment platforms. people who are able to think like both.
Google overcomes the challenges of finding and retaining talent by u actively seek out men or those with systemic privileges to take part as allies
making the talent come to Google. in challenging existing norms
The company makes sure the work itself is the primary attraction u stop lecturing young women on how best to behave in a rigged system
rather than the pay or perks. The entire leadership team crafts the job u learn to accept a wider range of leadership and working styles that foster
description to ensure that every employee is constantly working on cultural dynamism, respect and long-term growth.
interesting projects, always learning and being challenged to do more, Earlier this year, former first lady Michelle Obama said, “So many of
and generally made to feel they’re adding value. us have gotten ourselves at the table, but we’re still too grateful to be
Google reasons that by making the job itself the source of innovation at the table to really shake it up.” Agencies weren’t made for women,
and motivation, it will entice the right kinds of people and keep them so putting them in charge won’t automatically erase institutionalized
there. This is called “20% work,” which other organizations have inter- blind spots. But it would make ads speaking to women more effective
preted by assigning employees individual projects that require about and make the case for diversity more convincing. As women around
a-day-a-week of research to complete, all paid for by the company. the world continue to flip the script, it’s high time advertisers started
But even Google isn’t perfect. As the mass walkouts of November 1, paying more attention or be left behind.
8
2019 Photography and Illustration Awards

Early Bird:
Jan. 26, 2019
Final Deadline:
Feb. 1, 2019
Deadline
January 26
2019
A P P L I E D A RTS • W I N T E R 2 0 1 8 • PAG E 2 0
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Columns
\\ To promote a woman to bear rule, superiority or do

nature. Contumely to God, a thing most contrarious
subversion of good order, of all equity and justice.
\\
IMAGE: Screenshot from content developed for P&G Always by Leo Burnett (CCO Judy John). The #LikeAGirl campaign turns
what has historically been a gender-based insult into a source of strength. The agency recruited real women, men, boys
and pre-pubescent girls and asked them to show what it physically meant to run like a girl, throw like a girl etc. The young,
pre-pubescent girls performed these actions confidently and proudly, while older women and men performed these actions
in a self–deprecating and frivolous manner, thus exposing the loss of confidence that happens to young girls during puberty.
A P P L I E D A RTS • W I N T E R 2 0 1 8 • PAG E 0 0 0
Columns
minion above any realm, nation or city, is repugnant to

to His revealed will and approved ordinances, it is the
- John Knox, The First Blast of the Trumpet Against the Monstrous Regiment of Women, 1558

he above was uttered by the founder of the Scottish Presbyterian Church in
T an attack on the rule of Queen Elizabeth 1. It can also be found at the start of Ameri-
can author Thomas Berger’s dark and satirical 1973 novel, The Regiment of Women.
In it he creates a future wherein male and female roles are completely reversed. Men
are required to assume the subservient role in every way imaginable, from wear-
ing women’s clothes, make-up and breast implants to being cat-called and groped.
BY WILL NOVOSEDLIK
HELEN PAK - GREY CANADA
HELEN PAK - GREY CANADA
The protagonist, one Georgie Cornell, works

in a clerical position at a large publishing
house. When he arrives at the office, he sees
his boss in the lobby, a woman named Eloise:
| “Her gray mustache was stained yellow
from the pipe, and dandruff flecked the shoul-
ders of her old blazer. Cornell’s stomach rolled
at the thought of being touched by such a dirty
old woman. He smiled and murmured some-
thing – Eloise never listened to anyone but
herself anyway – and trotted down the cor-
ridor. Before he cleared the range of Eloise’s
reach, however, he felt her sharp pinch on his
left buttock. He seethed all the way to his desk,
but that was the sort of thing you had to put up
with if you were a working boy.”
| In its fearless imagining of what it would be
like if men switched roles with women, Berg-
er’s dystopian satire demonstrates a capacity
for something that is sadly absent in most of
us males: empathy. I am as guilty of it as any-
one. Even after 44 years of living with the same
woman, raising two daughters and working
shoulder to shoulder with female peers, I am
still the product of unconscious male bias.
| Knox’s 500-year-old screed clearly dem-
onstrates how entrenched misogyny was and
still is in our culture. But his unrepentant dis-
dain for women can be found as far back as the
Book of Genesis: “Unto the woman God said:
T
I will greatly multiply thy sorrow and thy con-
ception; in sorrow thou shalt bring forth chil-
dren; and thy desire shall be to thy husband
(facing page, top) o bring awareness to all those who have died
and he shall rule over thee.”
on the job, the Workplace Safety and Insurance Board hired Grey
| And there it is: we men have been giving
Canada to create a campaign for the Day of Mourning (April 28).
ourselves permission to mistreat women
These are transit cards that tell the stories of real people and were
since the Bible was written. Thankfully we are used to fill an entire streetcar a month before the day arrived.
witnessing, perhaps for the first time since ( facing page, below) Video content to bring awareness to the Day of
Genesis, an heroic rebuttal of institutionalized Mourning. (above) Everybody wants to get home safe and sound
and individual misogyny. What #MeToo has but not everyone makes the commute home. Grey wrapped a
done to surface the most egregious acts of en- streetcar in black, mounted a wreath on the front and ran the car
trenched male dominance in all walks of life, empty during rush hour the day before the Day of Mourning.
from the clergy to the entertainment indus-
try to politics, is just the beginning of a long
overdue subversion of the existing order. It is
the first blast of the trumpet against the mon-
strous regiment - not of women - but of men.
CHRISTINA YU RED URBAN
C ar marketers rarely want you to do anything but shine a

sexy, heroic light on their products as they cruise through pristine
mountain landscapes or downtown streetscapes devoid of traffic.
(Top) For Subaru, Christina Yu’s team took a price message an turned
it on its head by showing that for one tenth the cost of an Italian su-
percar, you could get an entire BRZ, Subaru’s sportscar model. (left
and above) For VW’s 60th anniversary, Yu’s team found the story of a
man who had driven his 1955 VW Beetle around the world 3 times.
The poster on the left was assembled from the thousands of photos
taken by the man with his Leica while circumnavigating the planet.
CORINNA FALUSI MOTHER NYC
||| LOTS TO TALK ABOUT

As this is being written, we are witnessing just
how tone-deaf unconscious bias can make
us. We heard it in the predictably chauvin-
istic responses of white male politicians to
the brave testimony of Christine Blasey Ford
– and indeed, in the mawkish, manipulative
testimony of her tormentor, Brett Kavanagh.
We saw it in Bill Cosby’s arrogant rebuff of
his sentencing for assaulting dozens of wom-
en throughout his career. We read it in Jian
Ghomeshi’s pathetic attempt at self-redemp-
tion in the New York Review of Books, wherein
the man accused of four counts of sexual as-
sault had the temerity to suggest that, since
he had become a hashtag, he was something
of a “#MeToo pioneer”.
| These are only the most high-profile man-
ifestations of sexism. But what about the
countless unspoken, unrecognized indigni-
ties that occur every day, in every home and
workplace, which continue to send the mes-
sage to women that they are not welcome on
the voyage unless they observe the unwritten
rules of female behaviour? How do they endure
these challenges as they climb the ladder?
| To find out, this writer spoke with some
of the most successful women in advertising.
Every one of them has experienced gender
bias in one form or another throughout their
careers. As Helen Pak, President Grey Toron-
to & Chief Creative Officer @ Grey Group put
it, “If you haven’t, you’ve been living under
a rock.” Many have had their Georgie Cor-
T
nell moment. As Judy John, CEO Canada &
Chief Creative Officer North America at Leo
Burnett told us, “I would say that 95% of the
(above top) he Pregnancy Pause is an organization focused on
women I know have had a moment in which
making it easier for moms to return to work after maternity leave
something really untoward happened.” We
by helping mothers fill in the gap in their resumes to point out that
talked about how gender bias has an effect
maternity leave is a full-time job. The United States is one of the
on salary negotiation, hiring, motherhood, only 2 countries in the western world that does not support paid
mentorship, advancement and role modeling. maternity leave. (bottom) For Target, Falusi’s team staged street cor-
There’s lots to discuss. ner takeovers based on rhyming headlines in New York, Miami, Los
Angeles, Chicago and Minneapolis.
||| MONEY: WOMENOMICS 101
According to Statistics Canada, on average,
full-time working women earn 75 cents for
JUDY JOHN - LEO BURNETT
JUDY JOHN - LEO BURNETT
every dollar earned by men. This and other

surveys by Catalyst Group and RBC tell us
that Canadian women comprise 48% of the
workforce, control 75% of consumer spend-
ing, own 30% of Canadian wealth, and are
better educated than men, on average holding
23% more undergraduate and 9% more grad-
uate degrees. And yet, only 25.6% of senior
managers in the private sector are women,
and a paltry 2.8% of companies listed on the
TSX have women CEOs.
| There is plenty of evidence that having
women in leadership roles is better for busi-
ness. A recent Catalyst Group study demon-
strated that companies with higher female
representation in top management outper-
form those without by delivering 34% greater
returns to shareholders. McKinsey estimates
that going from having no women in leader-
ship to a 30% female share can be associated
with a one-percentage-point increase in net
margin – which translates to a 15% increase in
profitability for a typical firm.
| So why the gaps in compensation? In their
excellent examination of the status of women
in the workplace, Darling, You Can’t Do Both,
Janet Kestin and Nancy Vonk, best known
as the co-chief creative officers behind the
ground-breaking Dove Real Beauty cam-
paign, lay out the reasons. For one thing, men
L
are more likely to ask for more money right
from the get go. Many of them negotiate their
very first salary, whereas women are general-
(facing page, top) eo Burnett created “Cook This Page”, a co-
ly happy to accept what is offered. Says Vonk,
llection of easy-to-make recipes printed on cookable parchment
“Women are loathe to go for the money. I can’t
paper. With step-by-step instructions and a list of ingredients pre-
tell you how many women have told us that cisely illustrated on the parchment paper to match actual propor-
when they start out, they’re just so happy to tions, the only thing one had to do was add food, roll it all up and
have the job. And that continues as they climb bake it. IKEA store managers created in-store events across Canada
the ladder. I think men feel less ashamed to to show that cooking can be fun, simple and exploratory. All 12,500
ask for the money, whereas women feel like parchment paper recipes available in 18 locations were snatched up
they are being bad girls if they do the same.” within hours. (facing page bottom and above) Campaign for Elections
| This has significant long term effects. As Ontario, with a wide variety of elements including tote bags, inflat-
Janet Kestin points out, “A recent study of able signage, online tools and illustrated maps. This campaign, de-
signed to inform and simplify the voting process won a Gold Pencil
MBAs showed that men will start their first job
in the Corporate Identity category of the One Show in 2012.
with something like a 20% higher salary than
their female peers. That gap grows over time
to the point where 20 years later, women are at
VONK-KESTIN -OGILVY
VONK-KESTIN -OGILVY
a deficit of between $350,000 and $500,000

compared to their male peers.
| Then there are the hidden costs of being a
woman in business. Jill Nykoliation, CEO of
Toronto-based Juniper Park\TBWA, shares
stats from author Joanne Lipman’s That’s
What She Said – What Men Need to Know and
Women Need to Tell Them: “Over a lifetime a
business woman will spend $15,000 on cos-
metics alone. And women pay more than men
for most of their necessities, from dry clean-
ing to razors to blue jeans. That can add up to
$1400 a year”. So over 40 years, that’s an ex-
tra $71,000 you can add to the deficit in pay.
You’re not only earning less, but it’s costing
you more just to go to work every day. And this
is especially pronounced in fashion, advertis-
ing and hospitality.
| This is of course because we attach as
much importance to how a woman looks as
to her job skills. One US study cited in Lip-
man’s book found that blondes earn 7% more
than brunettes, thin women out-earn heavier
women, and overweight white women pay a
financial penalty of a 12% drop in their wealth.
| A lot of this can be attributed to the differ-
ence in the way boys and girls are raised. Boys
are encouraged to take risks. Girls are encour-
aged to play it safe. That might explain why
57% of men and only 7% of women negotiate
their first salary. It may also explain why, when
evaluating a job opportunity, men will go for
it even if they have only 50% of the skills re-
quired, whereas women need to feel like they
have at least 90% of the skills needed.
||| MOTHERHOOD:
IT TAKES A VILLAGE
As Vonk and Kestin put it in their book, “The
T
(facing page, top) he first campaign that Janet and Nancy ever worked on to-
gether for Dove and their first global home run, sweeping CANNES, CA, the One
show and many others. The ad’s use of litmus paper to scientifically demonstrate
arch-villain here is the unconscious bias that Dove was not like any other soap saw this campaign spread to 33 countries.
(facing page, below left) Like Dove, Planta Dei was a suite of products that actually
grandfathered into a system that was created
was what it said it was, a rare occurrence in the CPG world. (facing page, below
by men for men at a time when most women
right). TIMEX Indiglo was the very first watch that could be lit up in the dark. To
stayed at home with their kids.” Those days are
support olympic athletes, Vonk and Kestin focused on how this watch would
gone, but the bias persists. Which is why there
look, in the dark, on the arms of various competitors, from runners to rowers.
are still significant numbers of women leaving The 1997 campaign was another global hit, propelling Nancy and Janet to the
the business in their mid-thirties, well before co-CCO role at Ogilvy. (above) Offering different flavours of margarine, now nor-
they get anywhere near the glass ceiling. mal, was at the time of this campaign a completely new and unconventional idea
JILL NYKOLIATION JUNIPER PARK
JILL NYKOLIATION JUNIPER PARK
| Jill Nykoliation discovered just how com-

mon this is: “I was recently invited to partic-
ipate in a CEO work session at the Women’s
Forum for the Economy & Society. One slide
in a McKinsey presentation took my breath
away – the biggest fallout in the advancement
of women happens between entry-level and
manager. In the US, 48% of the entry-level
workforce is female, but falls to 37% at the
manager level. It falls to 22% in the EU, and
39% in Canada. At the very start of their ca-
reers, women seem to stutter.”
| There is no question that part of this drop-
off can be attributed to the challenge of having
children while continuing to pursue a career.
But the blame must be attributed to the rigid-
ity of traditional workplace norms, not the
decision to have children. Most large North
American organizations still cling to the no-
tion that work happens in the office from 9
to 5, Monday to Friday, month to month, with
little more than a couple of weeks off every
year. The advertising business can be crueller
yet. Says Nykoliation, “In this business no one
is calling you with urgent requests at 9:00 in
the morning. Those calls happen in the after-
noon. Which often means working into the
evening.” In these conditions, childbearing
is seen as an interruption in productivity to
be dealt with as quickly as possible, as if lean
methodology were as important in the nurs-
ery as it is in the enterprise.
| Most of the women I spoke with are moth-
ers, and yet they all managed to stay in the
C
game while raising children. How did they do
it? To a woman, they had the same answer:
it takes a village. Janet Kestin and Judy John
(Facing page and above) ampaigns created by Juniper Park
both credit a very supportive partner as essen- /TBWA for non-profit organization IFEX to highlight the importance
tial to the ability to balance home and work. of a free press. The ads using images of Donald Trump, Kim Jong
Jill Nykoliation, now a single mother, has Un and Vladimir Putin were launched on May 3, World Press Free-
benefited from living two doors down from dom Day, to bring awareness to the lack of accountability that re-
her child’s father and next door to one of her sults when authoritarian leaders suppress the media through in-
brothers. “My daughter has three families – or timidation and censorship.
one big family across three houses.”
| Christina Yu, who recently joined Rethink’s
Toronto office as Managing Partner after 8
years as Creative Director at Red Urban also
ALISON GARNETT FIELD TRIP & CO
(Above, top) W ebsite design for the Port Lands Flood Protection Project in Toronto, one of the biggest
infrastructure projects in the city’s history. (bottom left) Brand strategy, brand identity and marketing for the Michael
Garron Hospital in the east end of Toronto. (bottom right) Identity design for Neuberger Holocaust Education Week.
has a village of support. Recently separated hiring criterion in most companies is always ers, assertive women, ambitious women. Judy
herself, she says “My children’s father contin- ‘fit’. But all that does is perpetuate uncon- and Helen may have seen the female friendli-
ues to be very supportive, and I have my father scious bias and close the door on women who ness of the place as a factor in their choice to
and extended family leaning in to help out too, are looking to prosper past their mid-thirties. come. We were lucky to have them.”
so across all of us my twin boys are well looked | That represents two generations of practi-
after.” But she also cites the importance of an ||| ADVANCEMENT: tioners for the next generation to look up to.
understanding workplace: “The main reason I DOING IT FOR THEMSELVES Christina Yu, representing the third, cites the
joined Rethink was just that I felt like I would One of the outcomes of the mid-thirties exo- same influences – Nancy, Janet, Judy and Hel-
be supported at work the way I am supported dus is that there are very few role models for en, as well as Lorraine Tao and Elspeth Lynn,
by my own family at home.” Yu reminds us women seeking to advance. This limits oppor- the creative team behind the stereotype-bust-
that in some other countries, this is the norm. tunities for mentorship and sponsorship, both ing Special K campaign of the late ‘90s. We
“Here, people raise their eyebrows if you dare considered key to achieving a leadership role. should also mention Karen Howe, who held
to leave your desk at 5:00pm, but in Sweden, | Alison Garnett is a partner at Toron- leadership roles at Cossette and Due North.
people raise their eyebrows if you don’t.” We to-based Field Trip & Co., and has held senior | Thinking about that time, it sounds like it
still have a long way to go. roles in some of the country’s top agencies. may have been a unique moment, not just for
Says Garnett, “I never felt like I had been poor- women in Toronto, but for the entire industry.
||| HIRING: ly treated until I got to more senior levels. Then At the very least it suggests that Toronto was
GET UNCOMFORTABLE I could feel the barriers to advancement right an early incubator for the advancement of
Corinna Falusi is CCO and partner at Mother away. It’s much more political, you’re dealing women in creative leadership. “I can’t say we
in New York. When asked about the unwritten with much more intense personalities.” set out with a strategy to make a difference for
rules facing women in advertising, she chose | She once found herself in very difficult women”, claims Vonk. “Partly we just went
to expand the conversation. Says Falusi, “To circumstances with no idea what to do. She about the business of being women in lead-
me what is more interesting is that we are in reached out to Nancy Vonk. “I got to know ership roles, and some good things happened
an industry wherein not only women but all Nancy as I read her book. Nancy helped me along the way”.
kinds of marginalized groups face these un- out of a situation from which I would not have
written rules. And I think the biggest step we been able to extricate myself. I followed her ||| THE FUTURE OF
can take is to learn how to hire people we are advice and it all worked out in my favour”. ADVERTISING
uncomfortable with”. | Turns out she’s not the only one who has There is no question that hearing these wom-
| Lily Wang, strategic planner at Toronto’s benefited from the tutelage of Vonk and Kes- en would make John Knox turn in his cold and
Central Station, concurs. “When hiring peo- tin. Both Helen Pak and Judy John worked at musty grave. But it is high time that the reg-
ple, companies need to be more comfortable Ogilvy under Nancy and Janet before they iment of men be retired, not to be replaced
with friction. But everyone is more consumed went on to high profile leadership roles of their by Berger’s regiment of women, but with the
with maintaining high morale rather than own, and both acknowledge what a special ex- strength, creativity and hope that only diver-
learning how to be comfortable with debate.” perience it was. Says Helen Pak, “I got to wit- sity can bring. The advertising industry, his-
| Falusi continues: “I think the agency needs ness two strong women, both with children torically such a powerful influencer of pop-
to allow for any type of personality and odd- and juggling it all with great success. I owe a ular culture, has an opportunity to help lead
ball to be accepted and have a place. Creative lot to them.” Adds Judy John, “They were the that charge. If it doesn’t, it will most certainly
talent can be highly neurotic , super extrovert- first female creative directors I ever worked crumble under the weight of its own uncon-
ed or extremely introverted. It’s as important with. It was a special time in that they gave me scious bias.
to have a place for that as it is for gender or ra- quite a bit of autonomy. There were a lot of
cial diversity. It leads to better work.” women on staff – very unusual for the time – Will Novosedlik is a writer and strategist at
| There is something to what Wang and Fa- which gave the place a very different vibe.” large, and the editor of Applied Arts Magazine
lusi are saying. It seems the most important | Nancy Vonk remembers that time fondly.
“I do think our Ogilvy years were special and it
was female friendly in the Toronto office from
the start. That was one of the bigger reasons
we stayed for so long. We could be “us”- moth-
Welcome to the 2018 Advertising Annual, where we get a chance to showcase some of the best work in
North America, all accessible in one convenient location: the magazine you are holding in your hands.
IN A BUSINESS where even great work is sometimes quickly THEY SCORE EACH PIECE on a scale of 0-5, in one round of
forgotten, annuals like this serve as important records for the judging. All the scores are then tallied digitally. Only then –
future of the industry. Aside from making you feel good, which is after the judges have made their choices and the scores have
important, the awarded work is an important indicator of where been calculated, do we see what work has made it past the cut-
the best work is being done and by whom, which in turn attracts off score, and what the winning work is.
the ambitions of similarly-minded practitioners. AT THAT POINT WE SEND emails to notify the winners and
A FEW WORDS ABOUT THE JUDGING PROCESS. As you may thank all entrants for participating. Then the annual is pub-
well imagine, there are thousands of entries – all received digi- lished, giving each winning piece equal merit, without ranking.
tally, which must be checked and prepped for judging. For this WE’VE DEVELOPED this approach over many years in an effort
awards, there were 21 judges involved. Because there is so much to be as fair as possible. It doesn’t make everybody happy. There
to go through, we break the judges and entries into groups. are always a few who ask why their work didn’t get in when it got
EACH GROUP OF JUDGES looks at the same work, but a One Show Pencil or a Bronze at Cannes. At the end
the judges don’t confer; they work independently. They of the day, you are being judged by your peers.
“Trust Your Taste: France” Agency: lg2, Quebec, QC. Illustrators: David Boivin, Marc Rivest, SHED (page 67)
are asked to score each piece on its own merit – not They are human beings. Which means they
to rank them, and not to work to any predetermined are subjective. Informed and sophisticated,
quota. If a category has no winners, it is eliminat- but subjective. There is nothing we can do to
ed. Similarly, a category can have many winners. change that. Nor would we if there were.
2018
ADVERTISING
AWARDS
Meet the Judges, p. 40
Advertising Awards, p. 47
Index, p. 192
PROUDLY SPONSORED BY:

AWARDS JUDGES
Katie Ainsworth, Executive Creative Director, Cossette, Vancouver, BC
Katie started her career over 20 years ago at Cossette in Toronto as a wide-eyed junior writer. Since then, she
enjoyed successful stints at BBDO, Y&R, TBWA, Rethink and GREY before returning to her roots, now as
executive creative director. With the ability to bring strategies to life in honest and unexpected ways, Katie has
earned industry accolades from The One Show, Cannes, Communication Arts, The ANDY Awards, Market-
ing, Applied Arts, ADCC Awards and more. Recently, Strategy named Cossette Agency of the Year for 2018.
KATIE AINSWORTH
Etienne Bastien, Partner & Chief Creative Officer, Ogilvy Canada, Montreal, QC
Etienne’s campaigns have won numerous prizes, both at a local and international level, including a presti-
gious Bronze Lion at Cannes in 2010 for Volkswagen in the film/car category. Combining creative strategy
and strategic creativity like few can, Etienne is a natural leader who preaches by example and knows how to
surround himself with the best. He loves complex projects and his quick wit allows him to quickly understand
a brand’s context and needs.
ETIENNE BASTIEN
Martin Bélanger, Managing Director + Executive Creative Director, UNION, Montreal, QC
Martin has been working in the advertising industry for over 23 years. As a copywriter and creative director
for agencies such as Cossette, BBDO, Ogilvy Montreal and Bos (DentsuBos), and as a freelancer, he created
notable and rewarded campaigns for local and national brands, such as Nissan, IKEA, Boston Pizza, Scotts,
Kraft, Egg Farmers of Canada, Pepsi, Labatt, Réno-Dépôt, VIARail and Winners, among others. In 2015, he
joined UNION to open and lead its new Montreal operation as managing director and executive creative di-
rector. concepteur-redacteur.ca
MARTIN BÉLANGER
Marie-Eve Best, Creative Director, bleublancrouge, Montreal, QC
Marie-Eve has been working in marketing, design and publishing for 15 years. In 2008, while at digital agen-
cy CloudRaker, she launched LakeJane.com, a lifestyle blog that earned an international fan base and estab-
lished her as a leading Canadian stylist and design expert. In 2014, Marie-Eve became the creative director for
digital marketing consultancy U92, where she spearheaded creative digital strategies for brands such as Pabst
Blue Ribbon and Reitmans Canada. She joined Bleublancrouge in 2016, and oversees creative for national
accounts, including beauty retail giant Sephora Canada and Sico Paints. bleublancrouge.ca
MARIE-EVE BEST
\\ I was looking for ideas that weren’t clever only for the sake of being clever.
I wanted to celebrate ideas that were quietly confident. In other words, ideas that
were effective because they were both purposeful and simple - and who best
utilized the platforms at their disposal.
\\
JUDGE: MARIE-EVE BEST, CREATIVE DIRECTOR, BLEUBLANCROUGE, MONTREAL, QC
“Money means
nothing to me,”
said no one ever.
Visit us online today to complete Canada’s national survey
for creatives to ensure you get paid what you’re worth tomorrow.
Once you’re done, you can download eight helpful negotiating

tips that will come in handy throughout your career.
CREATIVEEARNERS.CA
AWARDS JUDGES
Trent Burton, Executive Creative Director, McCann West, Calgary AB
Trent oversees the creative output for McCann offices in both Calgary and Vancouver. Prior to McCann,
Trent was at WAX, where he was founding partner and creative director. With more than 20 years of expe-
rience at Canadian agencies including TAXI and Ogilvy, Trent has produced award-winning campaigns for
clients including WestJet, Bayer CropScience, TELUS and Honda. Trent has garnered both creative and ef-
fectiveness awards both at home and abroad including The One Show, Clios, London International Awards,
ADCC, Marketing, Applied Arts, The Crystals and Communication Arts. Trent’s work has also earned him a
TRENT BURTON
coveted black pencil from D&AD.
Anthony Chelvanathan, Creative Director, Leo Burnett, Toronto, ON
As creative director and as an art director at Leo Burnett Toronto, Anthony is recognized as a prolific Canadi-
an creative. His work has been recognized at D&AD, Cannes, The One Show, ADC, LIA and Clios. In 2009,
The Gunn Report ranked Anthony sixth in the world and his Cannes Gold Lion–winning campaign for James
Ready Beer as the top out-of-home campaign. In 2015, his follow-up video to the #LikeAGirl campaign got
more than 90 million views while his TSN outdoor campaign promoting the Rogers Cup was among the most
awarded billboard campaigns in the world. In 2017, Anthony’s IKEA “parchment paper” won multiple golds
ANTHONY CHELVANATHAN
in Cannes, adding to his tally of more than 100 international awards, including a Grand Clio.
Dave Douglass, Partner, Executive Creative Director, Anomaly, Toronto, ON
Dave and his longtime creative collaborator Pete Breton helped launch Anomaly’s Toronto office six years
ago. Since then they have worked with Budweiser, MINI, Bud Light, Nike, Hershey’s and Sport Chek. Most
notably, Anomaly’s Budweiser Red Light campaign was called “the best marketing idea ever” by Apple inno-
vator Guy Kawasaki. His innovative work has won awards from Cannes, The One Show, Clios, Media Innova-
tion Awards and a D&AD pencil. In 2005, his work for the Canadian Film Centre was the second most-award-
ed campaign in the world. His short film for Johnnie Walker, The Gentleman’s Wager, received a D&AD pencil
DAVE DOUGLASS
for creative excellence in branded film content.
Ian Grais, Founder & National Creative Director, Rethink, Vancouver, BC
Ian was born and raised in Western Canada. After studying economics at the University of British Columbia he
studied advertising and design at the Art Center College of Design in Pasadena, and then founded Rethink in
1999. At Rethink, Ian creates and directs a range of projects encompassing design, interactive, installation and
advertising. Ian has served on the jury for many award shows, including the ANDYs, Cannes, Clios, Commu-
nication Arts, D&AD and The One Show. Ian has been ranked by Strategy as the number one art director and
creative director in Canada numerous times. Currently, Ian serves on the professional advisory board for the
IAN GRAIS
photography program at Sheridan College in Ontario and is an advisor to The Vancouver Urbanarium Society.
\\ The work is world-class in my opinion. Some of the best work in advertising is

coming out of Canada and I’m really proud of this fact.
\\
JUDGE: ANTHONY CHELVANATHAN, CREATIVE DIRECTOR, LEO BURNETT, TORONTO, ON
’
YOUVE GOT IDEAS.
NOW GET THEM NOTICED
Applied Arts Awards winners get their work published in an Annual,
archived on our online Winner’s Gallery, and displayed at select industry events.
2019 AWARDS SCHEDULE AT A GLANCE
AWARDS LAUNCHING EARLYBIRD DEADLINE FINAL DEADLINE ANNUAL PUBLISHED
Photography Nov. 26, 2018 Jan. 25, 2019 Feb. 1, 2019 Spring 2019
Illustration Nov. 26, 2018 Jan. 25, 2019 Feb. 1, 2019 Spring 2019
Design Jan. 2019 March 8, 2019 March 15, 2019 Summer 2019
Student Jan. 2019 June 7, 2019 June 14, 2019 Fall 2019
Advertising March 2019 Sept. 13, 2019 Sept. 20, 2019 Winter 2019/20
| New this year: There will be Community Awards categories in each of the awards programs.
| All competitions are entered and judged digitally.
| Sign-up to receive call for entry reminder at appliedartsmag.com.
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AWARDS JUDGES
Bianca Guimaraes, Vice President, Creative Director, BBDO, New York, NY
Bianca is a VP creative director at BBDO NY. She has been named as one of Business Insider’s “30 Most Cre-
ative People in Advertising Under 30” in 2012, 2014, 2015 and 2016. She’s been featured on Adweek’s Creative
100, on Drum’s “50 Under 30s,” named among the “Next Creative Leaders” by The One Show and the 3%
Conference, and as one of the Shots Rising Stars. biancaguimaraesportfolio.com
BIANCA GUIMARAES
Nellie Kim, Partner, Vice-President, Executive Creative Director, lg2, Toronto, ON
Nellie is a partner and co-ECD at lg2 in Toronto. Her work has been recognized at both domestic and inter-
national award shows including Cannes, The One Show, London International Awards, SXSW and Commu-
nication Arts, to name a few. Nellie has served as a juror on a number of industry-related shows including the
Cannes Lions, The One Show and the Webbys. She also sits on the board of directors for the Advertising and
Design Club of Canada.
NELLIE KIM
Dean Lee, Executive Creative Director, DDB Canada, Vancouver, BC
As ECD of DDB Vancouver, Dean helps guide the creative product of cross-disciplined teams. He has helped
with marketing solutions for a wide range of clients including Netflix, McDonald’s, PepsiCo, Sun-Rype,
TELUS, Pacific Blue Cross, Canadian Tourism Commission and BC Dairy, to name a few. His work has been
recognized by many national and international advertising shows including Cannes, The One Show, Com-
munication Arts, the Clios, D&AD and Applied Arts. Beyond his day job, Dean co-chairs The James Lee
Foundation to help aspiring creative talent break into the business and one day steal his job. ddb.ca
DEAN LEE
Ian Mackenzie, Executive Creative Director, FCB/SIX, Toronto, ON
Ian has spent most of his 13 years in the business working at intersections of digital and brand advertis-
ing. Along the way, he’s learned from some of the best creatives in the world, including Randy Stein, Lou-
is-Philippe Tremblay, Keith Reinhard, Lisa Bennett and Susan Credle. He’s also earned more than 100 na-
tional and international awards for creativity and effectiveness, including Lions, Pencils, Clios, Webbys and
Applied Arts. In 2014, he was ranked #1 copywriter in Canada in Strategy magazine’s Creative Report Card.
iandavidmackenzie@gmail.com, FCBSIX.com
IAN MACKENZIE
\\ I was looking for work that led the way. Could be a net new idea,
or new terrain discovered within an existing territory, or simply a novel way of putting
together elements that don’t normally go together. When it came to digital,
I was looking for ways in which the tools and technology became part of the idea itself,
versus being just a plus up.
\\
- JUDGE: IAN MACKENZIE, EXECUTIVE CREATIVE DIRECTOR, FCB/SIX, TORONTO, ON
AWARDS JUDGES
Kristian Manchester, Global Executive Creative Director & Partner, Sid Lee, Montreal, QC
Kris is a major creative strength behind numerous global campaigns crafted by Sid Lee. He also has many
successful Cirque du Soleil global initiatives under his belt. A multidisciplinary soul at heart, Kris always puts
his creativity to good use, seamlessly merging graphic design and new media. A seasoned visual artist, he has
his personal projects too, his latest being an art exhibit at Miami’s prestigious Art Basel and the co-direction
of the feature-length documentary “Takedown: The DNA of GSP.” His work has won major internationals
awards from One Show Pencils, Cannes Lions and Marketing Awards.
KRISTIAN MANCHESTER
Zak Mroueh, Chief Creative Officer & CEO, Zulu Alpha Kilo, Toronto, ON
Over the past decade, Zak has been busy building Zulu Alpha Kilo into a globally awarded 110-person inde-
pendent. In 2016, his shop was named Ad Age’s Small Agency of the Year, the first time a non-U.S. agency
had ever won overall top honours. Zulu was also awarded as Ad Age’s International Small Agency of the
Year in 2017. Most recently, Zak was featured in the May and April issues of Forbes magazine after Zulu
was recognized as one of North America’s best small companies and praised for challenging the business
conventions of the industry. Zak has both judged and been awarded at the One Show, D&AD, Cannes and
ZAK MROUEH
Communication Arts.
Julie Nikolic, Creative Director, Camp Jefferson, Toronto, ON
Julie is a creative director at Camp Jefferson leading the Koodo account. She has worked as an award-win-
ning and internationally recognized art director for over 15 years at some of Toronto’s top agencies including
BBDO and TAXI. She’s created smart, strategic campaigns for brands such as Starbucks, Chrysler, Frito-Lay,
Campbell’s, Diet Pepsi and the Canadian Paralympic Committee.
JULIE NIKOLIC
Erik Norin, Creative Director, Mother USA, New York, NY
Erik is a creative director at Mother NYC. Before joining Mother, Erik was a creative director at Wieden+Ken-
nedy, R/GA and 72andSunny, all in New York, and Farfar in Sweden. Erik has managed accounts like Heinek-
en, Nike Canada, Delta Airlines, Southern Comfort, T-Mobile, Virgin Voyages, Xfinity and more. Over a
15-year career, Erik’s work has been recognized globally. His biggest achievement, though, may have been
reaching the semi-finals of the Swedish foosball championships.
ERIK NORIN
Helen Pak, CCO GREY Canada & President GREY Toronto, GREY, Toronto, ON
A 20-year industry veteran, Helen has worked at agencies including Saatchi, TAXI, JWT, Ogilvy, Havas and
as CD at Strawberryfrog in Amsterdam. At Ogilvy, Helen was on the original global team for the highly rec-
ognized Dove Campaign for Real Beauty and helped launch the initiative worldwide. Helen also worked as a
creative strategist at Facebook and Instagram, and led Facebook’s Creative Shop in Canada. Helen sits on the
Board of Directors for the Advertising and Design Club of Canada and has been on many juries including the
One Show, Clios and D&AD. Before advertising, Helen was a Governor General Award-winning Architect
HELEN PAK
and graduated with honours from the University of Toronto.
AWARDS JUDGES
Laurence Quinn, Creative Director, Quiet Storm, London, UK
Seven weeks after graduating with a degree in advertising, Laurence landed at Leo Burnett where he helped
them become the number one TV agency in the world at Cannes. He was then head hunted by AMVBBDO,
where he worked with Pepsi, The Economist and Sainsbury’s. His next move was to JWT as CD, where he
created the world’s first talking press ad. He was then poached by Saatchi & Saatchi, where he helped win
part of the global HSBC account he had worked on at JWT. In 2018, looking for a new environment, Laurence
began working at Quiet Storm, an independent. Laurence’s work has also been recognized at D&AD, Clios
LAURENCE QUINN
and Creative Circle. laurencequinn.com
Rafael Rizuto, Founder & Chief Creative Officer, TBD Advertising, San Francisco, CA
A Brazilian with over 18 years of experience, Rafael has worked across the globe, making stops at Ogilvy & Ma-
ther in Brazil and Dubai, Leo Burnett in Dubai, Pereira & O’Dell in San Francisco and 180LA. As founder and
CCO of San Francisco–based agency TBD, he’s behind Mobile’s “Boost Your Voice” and UNICEF’s “UNfairy
Tales” projects. Rafael has won over 250 awards including Cannes, D&AD, The One Show, Clios and Effies.
He turned 180LA into the most awarded shop in TBWA’s Network Worldwide in 2016 and 2017. In 2017 Rafael
was listed on Ad Age’s “40 under 40” and in 2016 was ranked #13 in Business Insider’s “30 Most Creative Peo-
RAFAEL RIZUTO
ple in Advertising.”
Hannah Smit, Creative Director, Wieden + Kennedy, Amsterdam, Netherlands
Hannah is a creative director at Wieden+Kennedy, Amsterdam. Over the past nine years she’s worked for ad-
vertising agencies in Canada, Australia and Europe on clients ranging from global fashion brands, to nation-
al grocery chains, to toilet paper. Her work has been awarded at shows including Cannes, The One Show,
D&AD, Eurobest and the Webbys. It’s also been covered by media outlets such as Fast Company, Mashable,
Buzzfeed, Time magazine, MTV and ESPN.
HANNAH SMIT
Angela Sung, Associate Creative Director, Arrivals & Departures, Toronto, ON
Spanning 15 years of advertising experience, Angela’s ability to collaborate effectively across multiple sectors
has resulted in numerous national and international accolades, including Cannes, D&AD, Communication
Arts, The One Show, LIA and ADC, among others. She has worked at some of the top ad agencies in Van-
couver, Dubai and Toronto before coming to Arrivals & Departures as associate creative director. She brings
forward her expertise in creating visionary insights for world-class brands across the globe. Her passion for
producing impactful, strategic, evocative business solutions coupled with eloquent design standards pushes
ANGELA SUNG
her to transform brands like Fallsview Casino, McDonald’s, VW, Pacific Blue Cross and many more.
\\ I was looking for ideas that are original, emotive,

beautifully crafted but mostly something that shook things up and moved the
game on. It felt like it was easy to spot the work that was doing these things,
so well done to all those guys.
\\
JUDGE: LAURENCE QUINN, CREATIVE DIRECTOR, QUIET STORM, LONDON, UK
YOUNG BLOOD
YOUNG BLOOD ADVERTISING - SINGLE (All),

YOUNG BLOOD INTERACTIVE ADVERTISING - SERIES (All)
01 Eat Together
john st., Toronto, ON
t: 416-348-0048
e: angus.tucker@johnst.com
w: johnst.com
Young Bloods: Robbie Percy, Caroline Friesen
Executive Creative Directors: Angus Tucker, Stephen Jurisic
Creative Director: Cher Campbell
Copywriters: Robbie Percy, Jesse Wilks
Art Directors: Caroline Friesen, Gerardo Agbuya
Head Of Integrated Production: Aimee DeParolis
Winning Entry: youtube.com/watch?v=aWTdX_WxzJA
—
We live in a world that’s supposedly more “connected” than ever.
However, people report feeling more disconnected than ever
before. That’s why President’s Choice is suggesting one simple
01
way to fight this - by eating together. Despite only airing on TV
3 times, this short film was viewed over 60 million times online.
Facebook Canada reported that historically it had the most
shares in one day for a piece of promoted content.
CAT
LE
MULTIP
EG
ORY
W
INNER
YOUNG BLOOD
ADVERTISING
- SINGLE -
YOUNG BLOOD
INTERACTIVE
ADVERTISING
- SERIES -
YOUNG BLOOD
YOUNG BLOOD ADVERTISING - SINGLE

01 Day of Mourning
GREY Canada, Toronto, ON
Art Director and Young Blood: Oskars Trinitis
Copywriter and Young Blood: Cory Hansen
Chief Creative Officer: Helen Pak
Executive Creative Directors: Joel Arbez, James Ansley
Associate Creative Directors: Ryan McNeill, Ryan Lawrence
Design Director: Genevieve Beharry
—
The Last Commute - Remembering what happened to those
who didn’t make it home, so it doesn’t happen again.
01
YOUNG BLOOD
02
YOUNG BLOOD ADVERTISING - SERIES (All),

CAT YOUNG BLOOD ENTIRE ADVERTISING PROGRAM - SERIES (All)
LE 02 Typefaces of the Fallen
MULTIP
EG

ORY
Copywriter and Young Blood: Cory Hansen

Art Director and Young Blood: Oskars Trinitis
W Chief Creative Officer: Helen Pak
INNER Executive Creative Directors: Joel Arbez, James Ansley
Associate Creative Directors: Ryan McNeill, Ryan Lawrence
YOUNG BLOOD
ADVERTISING
- SERIES - —
The Typeface of the Fallen is a custom-crafted typeface created by
YOUNG BLOOD
using the faces of Canadians who have died from work-related accidents.
ENTIRE ADVERTISING
PROGRAM Individual letters memorialized a deceased Canadian worker.
- SERIES -
YOUNG BLOOD
NO VO BORING KNOCK KNOCK
I bet you are wondering why NoFrills The free computer voice we got to read Knock knock.
would choose this boring robotic voice our NoFrills radio commercial may be
to narrate their important radio com- boring. Who’s there?
mercial.
But you know what’s not boring? Banana.
Well you can stop wondering.
Our affordable watermelons. Banana who?
It’s cheaper.
Because we did not hire an expensive Bananas are on sale at NoFrills for a
And at No Frills we keep our prices as actor to read our commercial, you can lot less than the other grocery stores
low as possible by getting rid of the frills afford to enjoy more sweet sweet water- because NoFrills used this free, but
that make the price of your food higher. melon juices dripping sensually down beautiful computer voice they found
your cheeks on a hot summer’s day. online to read their radio commercial
So by not paying for a fancy voiceover rather than hiring expensive actors and
we can keep our fresh carrots priced Their pink flesh. So tender, so fresh. booking fancy production studios which
lower than your opinion of this radio are costs that end up on your grocery
commercial. Vulnerable and perfect. bill when you’re just trying to buy some
delicious, crunchy baby carrots.
Ha ha ha ha ha ha ha ha ha ha ha ha. Wow, I am so very very lonely.
Okay.
I’m so funny. Get the frill out of your bill.
That joke looked a lot funnier on paper.
Get the frill out of your bill. NoFrills.
Get the frill out of your bill.
NoFrills.
NoFrills.
01
YOUNG BLOOD RADIO - SERIES

01 The Cheapest Radio Ever:
No VO, Boring, Knock Knock
t: 416-348-0048
w: johnst.com
Young Bloods: Maddie Rosenberg, Ela Kallonen
Chief Creative Officer: Angus Tucker
Copywriter: Maddie Rosenberg
Art Director: Ela Kallonen
Agency Producer: Aimee DeParolis
—
To keep the cost of their groceries as low as possible, No
Frills, a discount grocery store in Canada, used a free online
text to voice reader to read their radio commercials rather
than spending tens of thousands of dollars on actors,
recording studios, and editors. The agency writer wrote the
ads, recorded them on her laptop using the text to voice
reader, and shipped them directly to the radio stations.
YOUNG BLOOD ADVERTISING - SINGLE

02 Volkswagen Pride
DDB Canada, Toronto, ON
t: 416-925-9819
e: allan.topol@ddbcanada.com
w: ddb.ca
Young Blood: Tina Peng
Creative Directors: Allan Topol, Craig Ferguson
Art Director: Tina Peng
Copywriter: Pavan Meshram
Account Executive: Molly Seewald
Strategist: Steph Joudrey
—
An ad for pride month. Love to all from the Love Bug.
02
CAMPAIGN
ENTIRE ONLINE CAMPAIGN

01 GoDaddy - Get It Online
Juniper Park\TBWA Communications, Toronto, ON
Chief Creative Officer: Graham Lang
Creative Director: Neil Walker-Wells
Art Director: Adam Brewer
Copywriter: Molly McKay
Designer: Lianna Petridis
Planner: Michael Kates
—
To showcase the speed and ease of the GoDaddy
Website Builder Tool, we listened for interesting
ideas posted on social media and turned them into
a website in less than 60 minutes.
01
CAMPAIGN
ENTIRE ADVERTISING CAMPAIGN (All),

INTEGRATED CAMPAIGN (All)
01 SickKids VS - All In
Cossette, Toronto, ON
w: cossette.com
Global Chief Creative Officers:
Carlos Moreno, Peter Ignazi
Creative Director/CWs:
Craig McIntosh, Sarah Rutherford
Creative Director/ADs:
Jaimes Zentil, Mario Cesareo
Designer:
Oleg Portnoy
Agency Producer:
Dena Thompson
Account Coordinator:
Maggie Kent
Winning Entry: vimeo.com/user13084060/
review/287516962/990a299611
—
Built in 1949, SickKids Hospital was falling
apart and in desperate need of a $1.3 bil-
lion overhaul. To communicate this critical
need, we created an integrated campaign
featuring real patients dramatizing the
fact that if they could build it themselves,
they would. The film depicted patients
tearing apart their neighbourhoods to
CAT salvage materials for a new hospital. In
LE
targeted OOH and digital, larger-than-life
MULTIP
EG
executions featured local patients calling

ORY
out their own neighbourhoods to join.
W
INNER
ENTIRE ADVERTISING
CAMPAIGN
INTEGRATED
CAMPAIGN
01
CAMPAIGN
01
CAMPAIGN

INTEGRATED CAMPAIGN (All)
01 Anything But Sorry
FCB Canada, Toronto, ON
t: 416-483-3600
w: fcbtoronto.ca
Chief Creative Officers:
Nancy Crimi-Lamanna, Jeff Hilts
Senior Copywriter:
Marty Hoefkes
Senior Art Director:
01 Michael Morelli
Directors:
Elias Campbell, Scott Drucker
Art Directors:
CAT
LE Cody Sabatine, Gira Moin, Elma Karabegovic
MULTIP
EG
Copywriter:
Joseph Vernuccio
ORY
—
When a baby with Down syndrome is born, the first word parents hear,
W
INNER is “Sorry”. A hurtful comment that implies their baby should be pitied,
not celebrated. Canadian Down Syndrome Society had a mission: stop
ENTIRE ADVERTISING people from saying, “Sorry” and make sure no new parent hears that
CAMPAIGN word again. This social campaign featured people with Down syndrome
offering any inappropriate suggestion to welcome a baby with Down
INTEGRATED
CAMPAIGN syndrome – except the real inappropriate language, “Sorry”.
CAMPAIGN
01
CAMPAIGN
ENTIRE ONLINE CAMPAIGN (All),

CAT INTEGRATED CAMPAIGN (All)
LE
01 Beautifully Real Moms
MULTIP
EG
Ogilvy, Toronto, ON
ORY
t: 416-945-2210
e: brian.murray@ogilvy.com
W w: ogilvy-canada.com
INNER
Brian Murray, Ian MacKellar
ENTIRE ONLINE
CAMPAIGN Copywriter:
Chris Dacyshyn
INTEGRATED Art Director:
CAMPAIGN
Julie Markle
Group Creative Directors:
Chris Dacyshyn, Julie Markle
Strategist:
Crystal Sales
Account Manager:
Aviva Groll
—
To let mothers know that being a real
mom is better than being a perfect one,
Baby Dove sent world-renown photojour-
nalists into moms’ homes to capture the
true beauty of motherhood. The images
were displayed in an online gallery and
promoted in social, print and OOH.
01
CAMPAIGN
01
CAMPAIGN
01
CAMPAIGN
01

CAT INTEGRATED CAMPAIGN (All)
LE 01 GO Etiquette Book
MULTIP
EG

ORY
t: 416-925-9819
W w: ddb.ca
INNER
Executive Creative Director:
Paul Wallace
ENTIRE ADVERTISING
Creative Director:
CAMPAIGN
Allan Topol
INTEGRATED Copywriter:
CAMPAIGN
Arjang Esfandiyari
Art Director:
Emmanuel Obayami
Agency Producers:
Lorrie Zwer, Mary Manale
VP Client Service Director:
Jacqui Faclier
—
A 100-page book co-written with the help
of transit riders. Special thanks to Rick
Tamberlin. #EtiquetteFail
CAMPAIGN
01
CAMPAIGN
INTEGRATED CAMPAIGN
01 Break Bread Smash Stigma
Bensimon Byrne / Narrative / OneMethod, Toronto, ON
Executive Creative Directors: Joseph Bonnici, Dan Strasser
Creative Directors: Meredith Klapowich (Narrative), Laura Serra (Narrative)
Associate Creative Directors: David Mueller, Gints Bruveris
Art Director: Carly Ouellette
Agency Producer: Michelle Pilling
Account Director: Jill Engleman
—
Even in a country as progressive as Canada, 50% of Canadians wouldn’t
eat a meal prepared by someone with HIV. To smash HIV stigma, we
opened the world’s first HIV-positive eatery and named it “June’s” after
Casey House founder, June Callwood.
01
CAMPAIGN
01
CAMPAIGN

01 Backfire
Rethink, Toronto/Montreal/Vancouver
w: rethinkcanada.com
Client:
States United Against Gun Violence
Creative Directors:
Hans Thiessen, Ian Grais, Chris Staples
Associate Creative Director:
Sean O’Connor
Art Director:
Hans Thiessen
Writers:
Sean O’Connor, John Eresman
Designers:
Sheldon Rennie, Jake Lim, Hans Thiessen
Winning Entry: thisisourawardspage.com/
backfire_case
—
Every 16 minutes in America, someone is
shot and killed. And yet, President Trump
continues to fight against common sense gun
laws. Launching on February 26, 2018, States
United to Prevent Gun Violence empowered
Americans to fight back with Backfire — a tool
that let users auto-tweet the President (on his
platform of choice) every time an American
died from gun violence.
01
CAMPAIGN

01 Destination Pride
FCB/SIX, Toronto, ON
t: 416-894-3650
e: ian.mackenzie@fcbsix.com
w: fcbsix.com
Executive Creative Director: Ian Mackenzie
Associate Creative Directors: David Laing, Krystle Mullin, Andrew Bernardi
Art Director: Devon Williamson
Copywriter: James Ly
Experience Designer: Patrick Stolk-Ramaker
Associate Design Director: Stuart Thursby
—
Destination Pride is a data-driven search platform that reimagines the Pride
flag as a dynamic bar graph, then uses it to visualize the world’s LGBTQ+
laws, rights and social sentiment. To launch Destination Pride globally, we
created more than 100 geographically individualized Facebook Ad cam-
paigns targeting people who were interested in LGBTQ+ topics, groups and
events, and who showed interest in travel.
01
ADVERTISING
02
03
CONSUMER MAGAZINE - SERIES CONSUMER MAGAZINE - SERIES

02 Building Parents’ Imaginations 03 Abandoned
Ogilvy Canada, Montreal, QC TAXI, Toronto, ON
t: 514-861-0545 t: 416-342-8294
e: daubert@ogilvy.com w: agency.taxi
w: ogilvy-canada.com Executive Creative Directors: Alexis Bronstorph,
Executive Creative Director: Carle Coppens Kelsey Horne
Account Director: Maxime Merchez Art Director: Chris Walker
Copywriters: Maxime Richer, Vanessa Harbec Copywriter: Pete MacInnis
Photographer: Alain Desjean Account Supervisor: Lexi Trimper
— Group Account Director: Tyler Brown
Traditionally known for stimulating children’s Planning Director: Andrew Ahern
imaginations, LEGO bricks can offer many op- —
portunities for stimulating parents’ imaginations, Audi is producing their first ever fully-electric car,
as well. To make these pieces, the agency asked the Audi e-tron. They tasked us with teasing its fall
children to build something and then their 2018 release in dealerships and select publications.
parents had to guess what they had made. What better way to highlight the benefit than to
show gas stations becoming a thing of the past?
ADVERTISING
0 1a
0 1b
ADVERTISING
0 1c
CONSUMER MAGAZINE - SERIES (All),

CAT NEWSPAPER - SINGLE (All),
LE NEWSPAPER - SERIES (All),
MULTIP
EG
ART DIRECTION - SINGLE (01a),

ORY
ART DIRECTION - SERIES (All)

01 Trust Your Taste:
W France, Switzerland, Italy
INNER lg2, Quebec, QC
Copywriter:
CONSUMER MAGAZINE
Luc Du Sault
- SERIES -
Creative Director:
NEWSPAPER Luc Du Sault
- SINGLE -
Art Director:
NEWSPAPER Jean Lafrenière
- SERIES -
Illustrators:
ART DIRECTION David Boivin, Marc Rivest, SHED
- SINGLE -
Agency Planners:
ART DIRECTION Christine Larouche, Catherine Darius
- SERIES - Account Director:
Christine Larouche
—
Our cheeses are the best. To prove it,
Fromages d’ici asks you to trust your
taste, a test that never fails.
ADVERTISING
01b
01a
01b
ADVERTISING
01c
CONSUMER MAGAZINE - SERIES (All),

CAT NEWSPAPER - SINGLE (01a),
LE NEWSPAPER - SERIES (All)
MULTIP
EG
01 Refuel. Restart. - Tennis / Boxing / Soccer

ORY
lg2, Montreal, QC
Client:
W Les Producteurs de lait du Québec
INNER Creative Director:
François Sauvé
CONSUMER MAGAZINE
Art Directors:
- SERIES -
Patrick Rochon, Marc Guilbault
NEWSPAPER Copywriters:
- SINGLE -
Luc Dupéré, Guillaume Bergeron
NEWSPAPER Planner:
- SERIES -
Stéfanie Forcier
Account Director:
Karine Payette
—
For years, chocolate milk has positioned
itself as the ideal drink for recovering from
intense physical activity, in preparation for
the next workout. The signage illustrates the
infinite training-recovery cycle experienced by
high-level athletes in various sports.
ADVERTISING
01a
01b
ADVERTISING
01c
NEWSPAPER - SINGLE (All),

CAT NEWSPAPER - SERIES (All),
LE CRAFT - IMAGE - SERIES (All)
MULTIP
EG
01 Small spaces for your Big Secrets:

ORY
Trump , Kim Jong-un, Armstrong

W w: rethinkcanada.com
INNER
Client: Carex Mini-Storage
Creative Directors: Nicolas Quintal,
NEWSPAPER
Ian Grais, Chris Staples
- SINGLE -
Art Director: Maxime Sauté
NEWSPAPER
Writers: Xavier Blais, Olivier Goulet-Lafond
- SERIES -
Illustrator: Maxime Sauté
CRAFT - IMAGE Strategist: Pascal Routhier
- SERIES - —
Under the signature “Small spaces for
your Big Secrets”, this campaign presents
three executions around a conspiracy
theory, a half-truth and fake news. These
mini-storage spaces could be used by
Donald Trump to stock a few wigs, by
NASA to fake the moon landing or by
Kim Jong-un, who’s secretly hiding all his
favourite Americana memorabilia.
ADVERTISING
01a 01b
01c
01d 01e
NEWSPAPER - SINGLE (01a, 01b),

CAT BILLBOARD - SINGLE (01f),
LE BILLBOARD - SERIES (01c, 01d, 01e),
MULTIP
EG
CRAFT - IMAGE - SINGLE (01g, 01h),

ORY
CRAFT - IMAGE - SERIES (01g, 01h, 01i)

01 Beautifully Real Moms -
W Dream Feeder, Witching Hour
INNER Ogilvy, Toronto, ON
t: 416-945-2210
NEWSPAPER e: brian.murray@ogilvy.com
- SINGLE - w: ogilvy-canada.com
BILLBOARD Chief Creative Officers: Brian Murray, Ian MacKellar
- SINGLE - Copywriter: Chris Dacyshyn
BILLBOARD Art Director: Julie Markle
- SERIES - Group Creative Directors: Chris Dacyshyn, Julie Markle
CRAFT - IMAGE Strategist: Crystal Sales
- SINGLE - Account Manager: Aviva Groll
CRAFT - IMAGE
—
- SERIES - To let mothers know that being a real mom is better than being
a perfect one, Baby Dove sent world-renown photojournalists
into moms’ homes to capture the true beauty of motherhood.
The images were displayed in an online gallery and promoted
in social, print and OOH.
ADVERTISING
01f
01g
01h 01i
ADVERTISING
NEWSPAPER - SINGLE
01 Vivian
t: 416-925-9819
w: ddb.ca
Executive Creative Directors:
Paul Wallace, Sann Sava
Creative Director:
Allan Topol
Art Director:
Craig Ferguson
Design Lead:
Christian Steffan
Senior Frontend Developer:
William Chong
Agency Producers:
Chris Webden, Mary Manale
—
Every year thousands of young girls
are trafficked through our airports.
01
A P P L I E D A R T S • W I N T E R 2 0 1 8 • PAG E 74
ADVERTISING
02
BILLBOARD - SINGLE BILLBOARD - SINGLE

02 Dizzy Board OUT-OF-HOME - SINGLE
Rethink, Toronto/Montreal/Vancouver 03 Shake
w: rethinkcanada.com TAXI, Toronto, ON
Client: t: 416-342-8294
Playland w: agency.taxi
Creative Directors: Executive Creative Directors:
Morgan Tierney, Ian Grais, Alexis Bronstorph, Kelsey Horne
Chris Staples Art Director:
Art Director: Chris Walker
Dosh Osholowu Copywriter:
Writer: Pete MacInnis
Jordon Lawson Account Director:
Print Producer: Joyce Ho
Kerry Bhangu —
Studio Artist: The simplest messages are
Jonathon Cesar reserved for the most iconic
— brands. Heinz ketchup is known
This billboard has everyone for being so thick that you need
feeling like they’re at Playland. to shake the bottle to get it out.
CAT
LE
MULTIP
EG
ORY
W
INNER
BILLBOARD
- SINGLE -
OUT-OF-HOME
- SINGLE -
03 03
ADVERTISING
01a
01b 01c
ADVERTISING
NEWSPAPER - SERIES (01b, 01c, 01d),

OUT-OF-HOME - SERIES (All),
ART DIRECTION - SERIES (All),
CRAFT - IMAGE - SERIES (All),
POINT-OF-PURCHASE/IN-STORE AD
OR PROMOTION - SERIES (All)
01 Happy Moving Day
Cossette, Montreal, QC
Client:
McDonald’s Restaurants of Canada Ltd.
Vice-President, Creative/Advertising:
Anne-Claude Chénier
VP Design And Branding:
Barbara Jacques
Patrick Michaud
Art Director:
Alexandre Jutras
Photographer:
René Lachapelle
—
In Quebec, there is a single day of the
year traditionally reserved for moving:
July 1, the day most leases roll over.
The challenge: Moving Day is typically
associated with pizza. As boxes are one
of the most iconic symbol of Moving
Day, we decided to use cardboard boxes
to represent popular menu items. Bus
shelters, print executions, social media
and in-restaurant signage reminded
Quebecers that McDonald’s and moving
are a match made in heaven.
CAT
LE
MULTIP
EG
W ORY
INNER
NEWSPAPER
- SERIES -
OUT-OF-HOME
- SERIES -
ART DIRECTION
- SERIES -
CRAFT - IMAGE
- SERIES -
POINT-OF-PURCHASE/
IN-STORE AD
OR PROMOTION
- SERIES -
01d
ADVERTISING
01a
CAT
LE
MULTIP
EG
ORY
W
INNER
BILLBOARD
- SINGLE -
BILLBOARD
- SERIES -
ART DIRECTION
- SINGLE -
ART DIRECTION
- SERIES -
POINT-OF-PURCHASE/
IN-STORE AD
OR PROMOTION
- SINGLE -
POINT-OF-PURCHASE/
IN-STORE AD
OR PROMOTION
- SERIES -
01b
ADVERTISING
01c
BILLBOARD - SINGLE (All),

BILLBOARD - SERIES (All),
ART DIRECTION - SINGLE (All),
OR PROMOTION - SINGLE (All),
01 Follow the Arches:
Next Exit, On Your Left,
Just Missed Us, On Your Right
w: cossette.com
Peter Ignazi, Carlos Moreno
Art Directors:
Spencer Dingle, David Théroux
Copywriters:
Jordan Hamer, Philippe Brassard
Creative Directors:
Craig McIntosh, Jaimes Zentil, Guy Moore
Senior Designer:
Oleg Portnoy
Designer:
Corey Way
—
01d We used only fractions of the McDonald’s
logo to create a minimal, globally-adapt-
able wayfinding system.
ADVERTISING
01a 01b
TRANSIT VEHICLE - SERIES (01a), (01b), (01c),

CAT OUT-OF-HOME - SINGLE (01d), (01e), (01f)
LE 01 Too Much Fun, Emoji Decals
MULTIP
EG
ORY
Client:
W Playland
INNER
Creative Directors:
Leia Rogers, Ian Grais, Chris Staples
TRANSIT VEHICLE
Art Directors:
- SERIES -
Jake Hope, Hans Thiessen, Melissa Haebe
OUT-OF-HOME
Writer:
- SINGLE -
Sean O’Connor
Print Producer:
Kerry Bhangu
Photographer:
Clinton Hussey
Strategist:
Darren Yada
—
Let your social media out — this year’s
campaign turned all the bodily fluids
associated with fear, fun, and nausea into
fun-loving, positive emojis.
0 1c
ADVERTISING
01d
01f
01e
ADVERTISING
TRANSIT VEHICLE - SERIES (All),

CAT YOUNG BLOOD ADVERTISING - SINGLE (All)
LE 01 Day of Mourning
MULTIP
EG

ORY
Young Bloods:
Oskars Trinitis, Cory Hansen
W Chief Creative Officer:
INNER
Helen Pak
TRANSIT VEHICLE Executive Creative Directors:
- SERIES - Joel Arbez, James Ansley
Associate Creative Directors:
YOUNG BLOOD
ADVERTISING Ryan McNeill, Ryan Lawrence
- SINGLE - Design Director:
Genevieve Beharry
Copywriter:
Cory Hansen
Art Director:
01 Oskars Trinitis
—
The Last Commute - Remembering what
happened to those who didn’t make it
home, so it doesn’t happen again.
ADVERTISING
OUT-OF-HOME - SINGLE (All),

CAT ADVERTISING - NON-TRADITIONAL - SERIES (All),
LE OFFLINE DIGITAL - SINGLE (All)
MULTIP
EG
02 The Mind-Reading Billboard

ORY
lg2, Quebec, QC
Creative Director:
W Luc Du Sault
INNER Copywriter:
Camille Gagnon
OUT-OF-HOME
Director:
- SINGLE -
David Poulin
ADVERTISING - Technical Director And Programmers:
NON-TRADITIONAL
- SERIES -
Mathieu Tremblay, François Couderc,
Jérémie Pelletier
OFFLINE DIGITAL
Art Director:
- SINGLE -
Camille Gagnon
Mac Artists:
Marie-Eve Roussy, Sylvain Grégoire
—
A few weeks before the event, the Festival de magie
de Québec surprised passersby with a mind-reading
billboard. In a digital bus shelter in downtown Quebec
City, Canada, an animated panel reproduced a classic
magic trick by guessing the playing card chosen by
passers with the help of “MAGICAL” technology.
02
ADVERTISING

CAT OUT-OF-HOME - SERIES (All)
LE 01 The World Looks Different When You’re Covered.
MULTIP
EG
DDB Canada, Vancouver, BC

ORY
t: 604-687-7911
e: paige.calvert@ddbcanada.com
W w: ddb.ca
INNER Executive Creative Director:
Dean Lee
OUT-OF-HOME
Group Creative Director:
- SINGLE -
Neil Shapiro
OUT-OF-HOME Copywriter:
- SERIES -
Jon Mandell
Account Director:
Fiona McFaul
Print Producer:
Matt Woods
Post-Production:
The Orange Apple
—
The world feels less dangerous when you’re
covered by BCAA insurance.
01
ADVERTISING
02

CAT ADVERTISING - PROMOTIONAL
LE MISCELLANEOUS - SINGLE (All)
MULTIP
EG
02 Fortune-Telling Billboard
ORY
lg2, Toronto, ON
Client:
W Manchu WOK
INNER Executive Creative Directors:
Chris Hirsch, Nellie Kim
OUT-OF-HOME Art Director:
- SINGLE -
Barbato Martiniello
ADVERTISING - Writer:
PROMOTIONAL
Emma Quiroz
MISCELLANEOUS
- SINGLE - Account Manager:
Luke Whitty
Producers:
Sarah Lasch, Sumit Ajwani
—
These fortune cookies all came true.
ADVERTISING
0 1a
0 1b
ADVERTISING
01c
OUT-OF-HOME - SINGLE (01a),

CAT EXPERIENTIAL/EVENT - SINGLE (01b),
LE POINT-OF-PURCHASE/IN-STORE AD
MULTIP
EG
OR PROMOTION - SINGLE (01c),

ORY
ADVERTISING - NON-TRADITIONAL - SINGLE (01c)

01 The Flip
W DDB Canada, Vancouver, BC
INNER We Are Unlimited, Chicago, IL
OUT-OF-HOME
w: ddb.ca
- SINGLE -
EXPERIENTIAL/EVENT John Hansa, Dean Lee
- SINGLE -
Senior Art Directors:
POINT-OF-PURCHASE/ Emily Walton, John Larigakis
IN-STORE AD Chief Creative Officers:
OR PROMOTION
Toygar Bazarkaya, Ari Weiss
- SINGLE -
Chief Executive Officer:
ADVERTISING - Mark Mulhern
NON-TRADITIONAL
- SINGLE - Creative Directors:
Vic Sanchez, Jon Morgan
Senior Copywriter:
Sara Uchison
—
On one day, across the country, the world’s most recognized
brand mark became a symbol of gratitude for women—past
and present—celebrating their contributions and stories that
have made the company what it is today.
ADVERTISING
0 1a
ADVERTISING
01b 01c
OUT-OF-HOME - SINGLE (01a),

CAT ART DIRECTION - SINGLE (01b),
LE ART DIRECTION - SERIES (All),
MULTIP
EG
CRAFT - IMAGE - SERIES (All)

ORY
01 Mobile Menu:
Big Mac / Fries / Egg McMuffin
W Cossette, Toronto, ON
INNER
w: cossette.com
OUT-OF-HOME
- SINGLE -
Senior Art Director/Designer:
ART DIRECTION Andrew Bernardi
- SINGLE -
Senior Copywriter:
ART DIRECTION Lee Cristiano
- SERIES -
Creative Directors:
CRAFT - IMAGE Tricia Piasecki, Tina Vahn, Ed Morris, Guy Moore
- SERIES - Group Creative Directors:
Simon Clancy, Shawna Hayman
Agency Producer:
Colleen Floyd
—
In a cluttered landscape of mobile app launches,
we leveraged McDonald’s instantly recognizable
iconography in a fresh and relevant way. Introducing
a new visual language ownable by no other brand.
ADVERTISING
01
ADVERTISING
02
OUT-OF-HOME - SINGLE OUT-OF-HOME - SINGLE

01 Noise Cancelling Poster 02 Remission Bell
UNION, Toronto, ON J. Walter Thompson Canada, Toronto, ON
t: 416-598-4944 Chief Creative Officers:
e: info@unioncreative.com Ryan Spelliscy, Josh Budd, Dave Federico
w: unioncreative.com/toronto/union VP, Creative Directors:
Chief Creative Officer: Ari Elkouby, Cory Eisentraut,
Lance Martin Matt Syberg-Olsen
Creative Directors: Creative Director:
Adam Thur, Rica Eckersley Mike Beamer
Agency Producer: Studio Artist:
Kelly Mark Noel Margonza
Programmer: Associate Head Of Broadcast:
Jordan Shaw Jennifer Cotton
Production Company: Senior Partner Group Management Director:
Stories Worth Sharing Erin Clark
Director Of Photography: —
Gordon Poon To announce a child has beaten cancer, we
— created a 12-foot replica of the bell cancer
In order to dramatize the noisy conditions survivors ring in Siteman Kids Children’s Hos-
people will have to live with if they buy a house pital and placed it on a billboard in downtown
without a REALTOR®, we created the world’s first St. Louis. When a child rings the hospital’s
noise-cancelling poster. Placed outside of noisy bell, nurses simultaneously ring the billboard
construction sites, the poster used a built-in, bell through a phone app. The billboard’s
omni-directional speaker and specially-formulated speakers amplify the sound of the ringing bell,
white noise to actually cancel out the loud noise. so it is heard far and wide. Approximately 5-10
Copy on the poster suggested that people could kids ring the bell every month.
avoid living in a noisy neighbourhood by using a
REALTOR® in the first place.
ADVERTISING
01a
OUT-OF-HOME - SERIES (01a, 01b),

PUBLIC SERVICE/CHARITY - SERIES (01c, 01d, 01e, 01f, 01g, 01h),
VIRAL/SOCIAL - SINGLE (01c, 01d, 01e, 01f, 01g, 01h),
MOBILE/TABLET - SINGLE (01c, 01d, 01e, 01f, 01g, 01h)
01 The Paralympic Network
BBDO, Toronto, ON
Denise Rossetto, Todd Mackie
Associate Creative Directors:
Matt Hubbard, Mike Schonberger
Agency Producers:
Beatrice Bodogh, Julie Lapre
Group Account Directors:
Rebecca Flaman, Tania Montemarano
Andrea Stranges
Planner:
Tom Kenny
Winning Entry: getaloadofthis.appsrvs.com/jd/paralympicnetwork
—
Canada’s Paralympic team used data to prove how extraordinary
their athletes really are. The Paralympic Network: Increasing
Coverage by Turning Fans into Broadcasters.
CAT
LE
MULTIP
EG
ORY
W
INNER
OUT-OF-HOME
- SERIES -
PUBLIC SERVICE/
CHARITY
- SERIES -
VIRAL/SOCIAL
- SINGLE -
MOBILE/TABLET
- SINGLE -
01b
ADVERTISING
01c 01d
01e 01f
01g 01h
ADVERTISING
0 1a 01b
OUT-OF-HOME - SERIES (All),

PUBLIC SERVICE/CHARITY - SINGLE (All)
01 Search History - Acceptance, Addiction, Escort
TAXI, Toronto, ON
t: 416-342-8294
w: agency.taxi
Alexis Bronstorph, Kelsey Horne
Associate Creative Director / Art Director:
Dan Cantelon
Associate Creative Director / Copywriter:
Marc Levesque
Account Director:
Joyce Ho
—
Before they’re street kids, they’re just kids. We
used an iconic visual well-known to anyone with
a smartphone to illustrate a timeline of important
events, raising awareness of how kids end up
living on the street.
CAT
LE
MULTIP
EG
ORY
W
INNER
OUT-OF-HOME
- SERIES -
PUBLIC SERVICE/
CHARITY
- SINGLE -
0 1c
ADVERTISING
OUT-OF-HOME - SERIES
02 Save Trees. Learn English.
Client:
Berlitz Canada
Creative Directors:
Nicolas Quintal, Ian Grais, Chris Staples
Art Director:
Maxime Sauté
Writer:
Xavier Blais
Photographer:
Bruno Florin
Strategist:
Pascal Routhier
—
The English language is known for being short and
sweet. The language itself is written and spoken
with much fewer words than the French counter-
part. In order to promote Berlitz’s English language
classes in a new and unusual way, we’re playing on
the fact that books are always shorter in English.
Which leads us to say that if you read a book in its
original English language, you can save trees.
02
ADVERTISING
01
PUBLIC SERVICE/CHARITY - SINGLE

01 Curve
lg2, Quebec, QC
Creative Director: Luc Du Sault
Copywriter: Vincent Bernard
Account Director: Alexandra Laverdière
Agency Planners: Catherine Darius,
Alexandra Laverdière, Mireille Côté
Photographer: Olivier Staub
Art Director: Vincent Bernard
—
The Société de l’assurance automobile
du Québec wanted to raise awareness on
cannabis’ effects on one’s ability to drive.
The message was clear, simple and indis-
putable: “Cannabis extends reaction time.”

02 Stop Sign
lg2, Quebec, QC
Creative Director: Luc Du Sault
Copywriter: Vincent Bernard
Account Director: Alexandra Laverdière
Agency Planners: Catherine Darius,
Alexandra Laverdière, Mireille Côté
Photographer: Olivier Staub
Art Director: Vincent Bernard
—
The Société de l’assurance automobile
02 du Québec wanted to raise awareness on
cannabis’ effects on one’s ability to drive.
The message was clear, simple and indis-
putable: “Cannabis extends reaction time.”
ADVERTISING

03 Credits
Client: Assaulted Women’s Helpline
Creative Directors: Leia Rogers, Morgan Tierney,
Art Director: Leia Rogers
Writer: Morgan Tierney
Producer: Robyn Farnham
Editors: Leigh O’Neill, Rob Forbes, Elad Tzadok
—
In the lead up to the Oscars and International
Women’s Day, Assaulted Women’s Helpline in
Ontario released a PSA shining a spotlight on
03
the culture of silent complicity that perpetuates
sexual misconduct in Hollywood.
ADVERTISING
01b
01a 01c
01d 01e
01f 01g
CAT
LE
MULTIP
EG
ORY
W
INNER
PUBLIC SERVICE/
CHARITY
- SINGLE -
ART DIRECTION
- SINGLE -
CRAFT - IMAGE
- SERIES -
CRAFT - TYPOGRAPHY
- SINGLE -
ADVERTISING -
NON-TRADITIONAL
- SINGLE -
YOUNG BLOOD
ADVERTISING
- SERIES -
YOUNG BLOOD
ENTIRE ADVERTISING
PROGRAM
- SERIES -
01h
ADVERTISING
01i
01j
PUBLIC SERVICE/CHARITY - SINGLE (01a, 01b, 01c, 01d, 01e, 01f, 01g, 01h),
ART DIRECTION - SINGLE (01i),
CRAFT - IMAGE - SERIES (01a, 01b, 01c, 01d, 01e, 01f, 01g, 01h),
CRAFT - TYPOGRAPHY - SINGLE (01i, 01j),
ADVERTISING - NON-TRADITIONAL - SINGLE (01k),
YOUNG BLOOD ADVERTISING - SERIES (01a, 01b, 01c, 01d, 01e, 01f, 01g, 01h),
YOUNG BLOOD ENTIRE ADVERTISING PROGRAM -
SERIES (01a, 01b, 01c, 01d, 01e, 01f, 01g, 01h)
01 Typefaces of the Fallen
Young Bloods: Oskars Trinitis, Cory Hansen
Chief Creative Officer: Helen Pak
Executive Creative Directors: Joel Arbez, James Ansley
Associate Creative Directors: Ryan McNeill, Ryan Lawrence 01k
Copywriter: Cory Hansen
Art Director: Oskars Trinitis
—
The Typeface of the Fallen is a custom-crafted typeface created by
using the faces of Canadians who have died from work-related accidents.
Individual letters memorialized a deceased Canadian worker.
ADVERTISING
01
02
A P P L I E D A RTS • W I N T E R 20 1 8 • PAG E 1 0 0
ADVERTISING
03
PUBLIC SERVICE/CHARITY - SINGLE PUBLIC SERVICE/CHARITY - SINGLE PUBLIC SERVICE/CHARITY - SERIES

01 Trump on Trump 02 Putin on Putin 03 Stop Sucking
Juniper Park\TBWA Communications, Toronto, ON Juniper Park\TBWA Communications, Toronto, ON Rethink, Toronto/Montreal/Vancouver
Chief Creative Officer: Chief Creative Officer: w: rethinkcanada.com
Graham Lang Graham Lang Client:
Group Creative Directors: Group Creative Directors: Greenpeace
Andy Linardatos, Hylton Mann Andy Linardatos, Hylton Mann Creative Directors:
Art Director: Art Director: Joel Holtby, Mike Dubrick, Aaron Starkman,
Yan Snajdr Yan Snajdr Ian Grais, Chris Staples
Copywriter: Copywriter: Art Director:
Tom Mednick Tom Mednick Joel Holtby
Designer: Designer: Writer:
Adam Damiani Adam Damiani Mike Dubrick
Planner: Planner: Designer:
Michael Kates Michael Kates Jake Lim
— — Print Producer:
Leading up to World Press Freedom Day on May Leading up to World Press Freedom Day on May Narine Artinian
3rd, 2018, IFEX launched its new global campaign. 3rd, 2018, IFEX launched its new global campaign. —
The IFEX network of organizations is connected The IFEX network of organizations is connected As some establishments move to eliminate
by a shared commitment to defend and promote by a shared commitment to defend and promote straws, there are still millions more that need
freedom of expression as a fundamental human freedom of expression as a fundamental human to follow in their footsteps. We designed these
right. In recent years there has been an increased right. In recent years there has been an increased graphic images to prompt businesses large
amount of threat to press freedom from leaders amount of threat to press freedom from leaders and small to rethink their straw usage. And
around the globe. Our right to have access to all around the globe. Our right to have access to all straws are only the first step. We need to start
sides of a news story is being undermined. sides of a news story is being undermined. a conversation about the continued usage of
other single-use plastics such as lids, cups and
containers, and how they’re contributing to the
plastic pollution crisis.
ADVERTISING
PUBLIC SERVICE/CHARITY - SERIES (All),

INTERACTIVE MISCELLANEOUS - SERIES (All)
01 The Isolated Campaign
lg2, Toronto, ON
Client: Responsible Gambling Council
Executive Creative Directors: Chris Hirsch,
Nellie Kim
Art Buyer: Emma Wathan
Art Director: Emma Wathan
Writer: Ariel Riske
Account Director: Taylor Johnston
—
Don’t suffer alone.
01
CAT
LE
MULTIP
EG
ORY
W
INNER
PUBLIC SERVICE/
CHARITY
- SERIES -
INTERACTIVE
MISCELLANEOUS
- SERIES -
ADVERTISING
02
PUBLIC SERVICE/CHARITY - SERIES

02 Hurt/Alone/Sad
lg2, Toronto, ON
Client: StopCyberBullying.org
Executive Creative Directors: Chris Hirsch, Nellie Kim
Art Director: Nellie Kim
Writer: Chris Hirsch
Account Director: Krista Findlay
Print Producer: Tara Gerguric
—
The effects of cyberbullying aren’t always easy to see.
ADVERTISING
01a
01b
01d
01c
CAT
LE
MULTIP
EG
01e
ORY

W DIRECT MAIL PACKAGE - ADVERTISING/CORPORATE - SINGLE (01a, 01b, 01c),
INNER DIRECT MAIL PACKAGE - ADVERTISING/CORPORATE - SERIES (01a, 01b, 01c),
ADVERTISING - NON-TRADITIONAL - SINGLE (All)
PUBLIC SERVICE/ 01 Break Bread Smash Stigma
CHARITY
- SERIES -
DIRECT MAIL PACKAGE Creative Directors: Meredith Klapowich (Narrative), Laura Serra (Narrative)
ADVERTISING/
CORPORATE
- SINGLE - Art Director: Carly Ouellette
DIRECT MAIL PACKAGE
Account Director: Jill Engleman
ADVERTISING/
CORPORATE —
- SERIES - Even in a country as progressive as Canada, 50% of Canadians wouldn’t eat
a meal prepared by someone with HIV. To smash HIV stigma, we opened the
ADVERTISING -
NON-TRADITIONAL world’s first HIV-positive eatery and named it “June’s” after Casey House
- SINGLE - founder June Callwood.
ADVERTISING

CRAFT - IMAGE - SERIES (All)
02 IFEX - Redacted
Group Creative Directors: Andy Linardatos, Hylton Mann
Illustrator: Hylton Mann
Account Director: Anne Legrand
Account Executive: Rita Ni
Client Service Director: Paul Silva
—
Media freedom is under attack around the world.
Last year alone, 81 reporters were killed worldwide for
doing their jobs, while more than 250 have been jailed.
Violence and harassment against journalists in general
has skyrocketed. Currently, there are 58 journalists
missing around the globe.
CAT
LE
MULTIP
EG
ORY
W
INNER
PUBLIC SERVICE/
CHARITY
- SERIES -
CRAFT - IMAGE
- SERIES -
02
ADVERTISING
01
PUBLIC SERVICE/CHARITY - SERIES

PRO BONO - ADVERTISING - SERIES
VIRAL/SOCIAL - SINGLE
PRO BONO - INTERACTIVE - SERIES
01 Anything But Sorry
FCB Canada, Toronto, ON
t: 416-483-3600
w: fcbtoronto.ca
Chief Creative Officers: Nancy Crimi-Lamanna,
Jeff Hilts
Senior Copywriter: Marty Hoefkes
Senior Art Director: Michael Morelli
Directors: Elias Campbell, Scott Drucker
Art Directors: Cody Sabatine, Gira Moin,
Elma Karabegovic
Copywriter: Joseph Vernuccio
—
When a baby with Down syndrome is born, the first
word parents hear, is “Sorry”. A hurtful comment
that implies their baby should be pitied, not
celebrated. Canadian Down Syndrome Society had
a mission: stop people from saying, “Sorry” and
make sure no new parent hears that word again.
This social campaign featured people with Down
syndrome offering any inappropriate suggestion to
welcome a baby with Down syndrome – except the
real inappropriate language, “Sorry”.
01
ADVERTISING
COPYWRITING - SINGLE
CAT 02 The S Word
LE FCB Canada, Toronto, ON
MULTIP
EG
t: 416-463-3600
ORY
w: fcbtoronto.com
Chief Creative Officers: Nancy Crimi-Lamanna,
W Jeff Hilts
INNER Copywriter: Marty Hoefkes
Art Director: Michael Morelli
PUBLIC SERVICE/ VP, Managing Directors - Account: Tracy Little,
CHARITY
- SERIES -
Ricky Jacobs
Account Director: Ravi Singh
PRO BONO Account Executive: Olivia Selbie
ADVERTISING
—
- SERIES -
When a baby with Down syndrome is born, the first
VIRAL/SOCIAL word parents hear, is “Sorry”. A hurtful comment
- SINGLE -
that implies their baby should be pitied, not
PRO BONO celebrated. Canadian Down Syndrome Society had
02
INTERACTIVE a mission: stop people from saying, “Sorry” and
- SERIES -
make sure no new parent hears that word again.
COPYWRITING This social campaign featured people with Down
- SINGLE - syndrome offering any inappropriate suggestion to
01/02
welcome a baby with Down syndrome – except the
real inappropriate language, “Sorry”.
ADVERTISING
PRO BONO - ADVERTISING - SINGLE (All),

CAT ADVERTISING - NON-TRADITIONAL - SINGLE (All),
LE WEBSITE - SINGLE (All),
MULTIP
EG
PRO BONO - INTERACTIVE - SINGLE (All)

ORY
01 Hotel de Jeunesse
Tribal Worldwide, a division of DDB, Toronto, ON
W t: 416-925-9819
INNER e: erink@tribalworldwide.ca
w: ddb.ca
PRO BONO
ADVERTISING
Chief Creative Officer:
- SINGLE - Ari Weiss
ADVERTISING
Marketa Krivy
NON-TRADITIONAL
Erin Kawalecki, Diego Bertagni
WEBSITE
Copywriters:
- SINGLE -
Alex Manahan, Victoria Sturgess
PRO BONO Art Directors:
INTERACTIVE
George Lin, Mark Ovsey, Vanessa Heber
- SINGLE -
Photographer:
Marlee Maclean
—
Human trafficking happens closer to home than
most Canadians realize. But the signs can be hard
to recognize. We not only had to raise awareness;
we had to show people how to spot human traf-
ficking, and what to do if they encountered it. The
campaign earned more than 5 million impressions,
increased tips by 27% year-over-year, and most
importantly, generated a tip that led to the rescue
of an underage victim.
01
ADVERTISING
02
PRO BONO - SINGLE (All),

CAT EXPERIMENTAL/ARTISTIC - SINGLE (All)
LE 02 The Pride Shield
MULTIP
EG
ORY
Client:
W Émergence Foundation
INNER Creative Directors:
PRO BONO
- SINGLE - Art Director:
Maxime Sauté
EXPERIMENTAL/ Writers:
ARTISTIC
Xavier Blais, Greg Kieltyka
- SINGLE -
Producers:
Marie-Noëlle Rosso, Alexandre Caron, Jean-René Parenteau
Strategist:
Pascal Routhier
—
We created the Pride Shield, in partnership with Émergence
Foundation, for the International Day Against Homophobia
and Transphobia. This custom-made 248-pound flag was
crafted with 193 LGBT flags to show that despite recent
progress, we still have to stand together to put an end to
homophobia and transphobia.
ADVERTISING
PRO BONO - SINGLE

01 A very special Christmas special
UNION, Toronto, ON
t: 416-598-4944
e: info@unioncreative.com
w: unioncreative.com/toronto/union
Chief Creative Officer: Lance Martin
Copywriter: Alex Scott
Art Director: Alicia Outschoorn
Producer: Grace Lee
Music/Sound: TA2 SOUND & MUSIC
Audio Producer: Drew Frohmann
—
While agency Holiday cards have traditionally focused on industry
humour, TA2 decided this year they wanted to make a real difference
with theirs. The result: the first-ever Described Video for Rudolph
The Red Nosed Reindeer, letting those who are visually impaired
01
experience the same magic we all have.
ADVERTISING
02 03
COPYWRITING - SINGLE COPYWRITING - SINGLE

02 Sound Manifesto Ad 03 GO Etiquette Book
Target, St. John’s, NL DDB Canada, Toronto, ON
t: 709-739-8400 t: 416-925-9819
e: info@targetmarketing.ca e: allan.topol@ddbcanada.com
w: targetmarketing.ca w: ddb.ca
Creative Director: Tom Murphy Executive Creative Director: Paul Wallace
Creative Group Head: Kevan Kalyan Creative Director: Allan Topol
Copywriter: Jim Francis Copywriter: Arjang Esfandiyari
Photographer: Alex Spraetz Art Director: Emmanuel Obayami
Account Director: Ernie Brake Agency Producers: Lorrie Zwer, Mary Manale
Account Manager: Allison Daley VP Client Service Director: Jacqui Faclier
— —
How do you express the idea of sound in a newspaper ad? For the launch A 100-page book co-written with the help of transit riders.
of our Sound Campaign we took advantage of the rhythm and musicality Special thanks to Rick Tamberlin. #EtiquetteFail
inherent in this province’s long history of storytelling, recalling the hey day
of the long-copy ad. Readers are guided through a soundscape, imagining
themselves disconnecting from their busy day and transported to the
ocean, and a world of peace and quiet that is not always silent.

ADVERTISING
01
COPYWRITING - SERIES
01 Speak The Truth
Zulu Alpha Kilo, Toronto, ON
t: 416-777-9858
Client: Association of Registered Graphic Designers (RGD)
Creative Director: Zak Mroueh
Design Director: Ryan Booth
Designers: Jack Curtis, Ryan Booth
Art Directors: Ryan Booth, Michael Romaniuk, Charline Fauche-Simon
Writers: Angeline Parsons, Patrick Godin
—
This year, the theme for the RGD’s DesignThinkers conference is
one that resembles how most designers approach their craft: bold
and without apology. ‘Speak the Truth’ is a concept that focuses on
exposing the truths of design around us, in a humorous, relevant, and
sometimes provocative manner. Since the truth is often black and
white – the conference materials follow suit, while highlighting design
truths across all of the elements.
ADVERTISING
COPYWRITING - SERIES
02 Wordsworth/Potter/Naruda
MattCo., Toronto, ON
e: matthewfraracci@hotmail.com
Copywriter: Matt Fraracci
—
Ads promoting my skills as a copywriter.
02
ADVERTISING
01
ART DIRECTION - SINGLE

01 SMYTHE - Now Shipping Worldwide
Open. A Creative Company, Toronto, ON
t: 416-885-1158
e: hello@openacreativecompany.com
w: openacreativecompany.com
Partner, Creative:
Martin Beauvais
Partner, Strategy:
Christian Mathieu
Art Director:
Tyler McKissick
Copywriter:
Samara Luck
Director Of Client Service:
Anne Ngo
Photographer:
Justin Poulsen
—
Toronto designers SMYTHE are now shipping world-
wide. To announce this news, SMYTHE reimagined
and shot intricate and abstract versions of flags of
their key markets - US, Germany and Japan, made
entirely of classic SMYTHE jackets and clothing.
ART DIRECTION - SINGLE

02 Discover Canada
Helen Pak
VP, Director Of Planning:
Ian Westworth
Planner:
Jean–Claude M. Kikongi
Joel Arbez, James Ansley
Ryan McNeill
Copywriter:
Darrel Knight
—
The Canadian Discovery Tour: exposing poverty
02 hiding behind Canada’s greatness.
ADVERTISING
ART DIRECTION - SERIES

03 Mini Lessons in Realty
UNION, Toronto, ON
t: 416-598-4944
Lance Martin
Copywriter:
Alex Scott
Art Directors:
Alicia Outschoorn, Greg Arden
Producers:
Kelly Mark, Brianna Vitale, Dani Turner
Account Directors:
Kimberly Welsh, Raluca Kostovski
Account Manager:
Beatrice Dauphinais-Borque
—
When you don’t use a REALTOR®, your dream home
can turn to a nightmare in a matter of seconds.
03
ADVERTISING

CAT BRANDED CONTENT - SERIES (All),
LE POINT-OF-PURCHASE/IN-STORE AD
MULTIP
EG

ORY
01 Petal Paint
Leo Burnett, Toronto/Sri Lanka
W Chief Creative Officers:
INNER
Mark Tutssel, Judy John
Managing Director:
ART DIRECTION
- SERIES -
Ranil De Silva
Chief Executive Officer:
BRANDED CONTENT
Arosha Perera
- SERIES -
POINT-OF-PURCHASE/ Anthony Chelvanathan, Rajdeepak Das,
IN-STORE AD
Lalindra Nanayakkara
OR PROMOTION
- SERIES - Director, Publicis Sri Lanka:
Selonica Perumal
Senior Creative Director:
Athula Kathriarachchi
—
In Sri Lanka, flowers signify the imperma-
nence of life. Their purpose is to be present-
ed as an altar offering. But due to the high
volume of daily worshippers, these flowers
get discarded within minutes. This results in
millions of fresh flowers being wasted daily.
By extracting the pigment contained in these
temple flowers, we created Petal Paint, a
range of safe, long-lasting paints and used
them for the creation and restoration
of temple art.
01
ADVERTISING
01
ADVERTISING
ART DIRECTION - SERIES

01 Mall/People/Security
lg2, Toronto, ON
Client:
Manchu WOK
Chris Hirsch, Nellie Kim
Art Director:
Liam Johnstone
Writer:
Jake Greer
Account Manager:
Luke Whitty
—
Chinese food at the mall.
01
ADVERTISING
02
CRAFT - IMAGE - SERIES

02 Parc: Midnight Movies
Les Évadés, Montreal, QC
t: 514-798-8818
e: info@lesevades.com
w: lesevades.com
Client:
Cinéma du Parc
Creative Director:
Charles Gagnon
Art Director:
Martin Dupuis
Illustrator:
Massimiliano Di Lauro
—
Cinéma du Parc is a small independently
run movie theatre that prides itself on
screening the best selection of classic,
foreign and director-oriented films.
These posters were made for a series of
specialized midnight screenings.

ADVERTISING
01
CRAFT - TYPOGRAPHY - SINGLE

01 Filling The Emptiness
Cossette, Montreal, QC
Client: Garde-Manger Pour Tous
Vice-President, Creative/Advertising:
Anne-Claude Chénier
Art Director: David Théroux
Copywriter: Philippe Brassard
Product Owner: Lorraine Grouvel
—
Every day at lunchtime, Le Garde-Manger Pour
Tous fills 3,000 plates to feed Montreal school-
children in disadvantaged neighbourhoods. For
its annual cocktail benefit, we created a visual
identity based on an original typography using
empty plates that brings its mission to life. The
plates appeared — cut, spliced and animated
— in all material related to the event, inviting
people to fill the emptiness.
CRAFT - IMAGE - SINGLE

02 Raccoon Mountain
DentsuBos, Montreal, QC
t: 514-848-0010
e: dbmtlconcours@dentsuaegis.com
Chief Creative Officer: Sebastien Rivest
Art Director: Hang Tan Tang
Vice-President Production And Operations:
02
Fanny Quenneville
—
Leading up to winter, we wanted to promote
Raccoon Skis, a small ski manufacturer that has
always kept its promise close to nature. Our
idea was to do just that: show consumers how
their new skis would make them a seamless
part of the natural landscape. The outcome
was this beautiful poster.
ADVERTISING
BRANDED CONTENT - SINGLE

03 Scream Choir
Client: Playland
Creative Directors: Morgan Tierney, Ian Grais,
Chris Staples
Art Director: Dosh Osholowu
Writer: Jordon Lawson
Producers: Carla Olson, Sarah Vingoe
Editors: Megan O’Connor, Leigh O’Neill
screamchoir
—
Okay, how do we explain this? We hired a real
composer to bring the essence of Playland to life.
How? We asked people to submit online auditions
to join the world’s first scream choir, rehearsed
for two weeks, then toured around Vancouver
screaming classical songs. It’s amazing what you
can do with a determined composer, a plan, and a
bunch of screamers from the Internet.
03
ADVERTISING
DIRECT MAIL PACKAGE - ADVERTISING/

CAT CORPORATE - SINGLE (All),
LE ADVERTISING - PROMOTIONAL
MULTIP
EG
MISCELLANEOUS - SERIES (All),

ORY
WEBSITE - SINGLE (All),

MOBILE/TABLET - SINGLE (All)
W 01 GoDaddy - Get It Online
INNER
DIRECT MAIL PACKAGE
ADVERTISING/ Creative Director: Neil Walker-Wells
CORPORATE Art Director: Adam Brewer
- SINGLE - Copywriter: Molly McKay
ADVERTISING
Designer: Lianna Petridis
PROMOTION Planner: Michael Kates
MISCELLANEOUS Winning Entry: vimeo.com/275675591
- SERIES - —
WEBSITE To showcase the speed and ease of the GoDaddy
- SINGLE - Website Builder Tool, we listened for interesting
ideas posted on social media and turned them
MOBILE/TABLET
- SINGLE - into a website in less than 60 minutes.
01
ADVERTISING
DIRECT MAIL PACKAGE - ADVERTISING/

CAT CORPORATE - SERIES (All),
LE VIRAL/SOCIAL - SINGLE (All)
MULTIP
EG
02 Snickers Hater Bar

ORY
BBDO, Toronto, ON
Chief Creative Officers: Todd Mackie, Denise
W Rossetto
INNER Associate Creative Director: Derek Blais
Copywriter: London Choi
DIRECT MAIL PACKAGE
Planner: Tom Kenny
ADVERTISING/
CORPORATE Group Account Director: Caroline Kilgour
- SERIES - Account Director: Stepanie Martins
Winning Entry: getaloadofthis.appsrvs.com/jd/
VIRAL/SOCIAL
- SINGLE - haterbar
—
The Raptors were having their best season ever,
but there was something odd going on in Toronto.
As their success grew, so did the haters. The
only explanation? Hunger. So, we took our iconic
‘Hunger’ bars and turned them into ‘Hater’ bars.
Our goal was to feed the haters by making them
eat their words - literally. Using Twitter, we turned
real-time hate into real-life hater bars and shipped
them out to all the haters.
02
ADVERTISING
01a 01b
POINT-OF-PURCHASE/IN-STORE AD OR
PROMOTION - SINGLE (01a, 01b, 01c)
01 Good Weird
t: 604-687-7911
w: ddb.ca
Executive Creative Director: Dean Lee
Group Creative Director: Neil Shapiro
Copywriter: Neil Shapiro
Art Director: John Larigakis
Account Director: Patty Jones
Producer: Dean Tsatouhas
Illustrator: John Larigakis
—
Fuggles and Warlock is known for it’s unique
beers. Whether it’s a Strawberry Wit or an
Espresso Milk Stout, they’re constantly pushing
traditional styles of beer into new territory. Com-
pared to average lagers and pilsners their beer is
pretty weird, but it’s also really good.
01c
ADVERTISING
02a 02b
OR PROMOTION - SINGLE
02 Keep The Peace (02a, 02b)
t: 604-687-7911
w: ddb.ca
Account Director: Molly Seewald
Project Manager: Dean Tsatouhas
Copywriter: Ella Dalling
Art Director: Fred Mazzola
Illustrator: Kane Tchir
—
The VW Atlas has three rows of seats. With that
much space there’s enough room for everyone to
enjoy the trip.
OR PROMOTION - SINGLE
03 Halloween
t: 416-777-9858
Client: Harley-Davidson Canada
Chief Creative Officer: Zak Mroueh
Executive Creative Director: Allen Oke
Associate Creative Directors: Noel Fenn,
Andrew Caie
Art Director: Lisa Phuong
Writer: Coleman Mallery
—
The end of October is generally known for two
things. The first being Halloween. The second
is the end of riding season for most motorcycle
owners. Knowing this, we developed a unique
retail initiative for Harley-Davidson that coincided
with these special dates. The idea was to promote
Harley-Davidson Genuine Parts and Merchandise
with a Halloween theme tied into it.
03
ADVERTISING
OR PROMOTION - SINGLE (All),
EXPERIENTIAL/EVENT - SINGLE (All)
01 Electrifying Performance
DDB Canada, Montreal, QC
t: 416-925-9819
e: jf.mallette@ddbcanada.com
w: ddb.ca
Chief Creative Officer: Paul Wallace
Executive Creative Director: Sann Sava
Copywriters: Olivier Giguère, Sébastien Tougas
Art Directors: Arnaud Tartier, Mélissa Charland
Senior Graphic Designer: Adnan Huseinovic
Agency Producer: Julie Lorazo
—
With many automakers already making electric ve-
hicles, we wanted to make some noise around the
launch of Volkswagen’s first electric car in Canada.
And what better way than by literally turning the
e-Golf into a musical instrument? The video was
presented at auto shows all over the country. With
tens of thousands of visitors stopping by, the stunt
grabbed the attention of Canadians from coast to
coast and helped sell every e-Golf in Canada.
CAT
LE
MULTIP
EG
ORY
W
INNER
01
POINT-OF-PURCHASE/
IN-STORE AD
OR PROMOTION
- SINGLE -
EXPERIENTIAL/EVENT
- SINGLE -
ADVERTISING
02
CAT OR PROMOTION - SINGLE (All),
MULTIP
EG
MISCELLANEOUS - SINGLE (All)

ORY
02 Full Tilt
J. Walter Thompson Canada, Toronto, ON
W Chief Creative Officers: Josh Budd, Dave Federico
INNER Executive Creative Directors: Ari Elkouby,
Cory Eisentraut
POINT-OF-PURCHASE/
Designer: Michael Byzewski
IN-STORE AD
OR PROMOTION Production Director: Nicola Martin
- SINGLE - Print Production Manager: Maria Goss
Senior Production Artist: Patrick Conway
ADVERTISING
PROMOTIONAL —
MISCELLANEOUS To raise awareness of Full Tilt Cycle, we created a
- SINGLE - one-of-a-kind poster made of innovative, dissolvable
laundry detergent. The poster could be torn from
pre-perforated strips and placed into the washing
machine with the individual’s post-workout sweat-
stained clothes, becoming part of the cyclists’
workout routine. In order to protect clothing and
not dissolve the poster during the printing process,
colour safe, dissolvable anhydrous inks containing
less than 7% liquid were used.
ADVERTISING
CAT OR PROMOTION - SINGLE (All),
MULTIP
EG
MISCELLANEOUS - SINGLE (All)

ORY
01 Pack Your Pet

W t: 416-348-0048
INNER e: angus.tucker@johnst.com
w: johnst.com
POINT-OF-PURCHASE/
IN-STORE AD
OR PROMOTION Angus Tucker, Stephen Jurisic
Mark Scott, Cedric Audet
ADVERTISING
PROMOTIONAL Art Directors:
MISCELLANEOUS Sebastien Lafaye, Steve Ierullo
- SINGLE - Executive Design Director:
Mooren Bofill
Associate Design Director:
Jacqueline Lane
Designers:
Carol Hung, Mike Arnott
—
01 Every July 1st in Québec, thousands of residents
pack up and move out of their apartments.
It’s called Moving Day. And every year, more
than 1,600 pets are left behind by their moving
owners on that day. But this year, Home Hardware
partnered with the Society for the Prevention of
Cruelty to Animals (SPCA) to create pet-shaped
moving boxes that reminded people: if you move,
don’t leave your pet behind.
ADVERTISING
01
ADVERTISING
01
ADVERTISING
02
AGENCY SELF-PROMOTION - SINGLE AGENCY SELF-PROMOTION - SINGLE

01 Mockupdated 02 Buttons the Rethink Elf
Anomaly, Toronto, ON Rethink, Toronto/Montreal/Vancouver
t: 647-547-3440 w: rethinkcanada.com
e: tor_awards@anomaly.com Creative Directors:
w: anomaly.com Leia Rogers, Morgan Tierney, Chris Staples,
Executive Creative Directors: Ian Grais
Dave Douglass, Pete Breton Art Director:
Creative Director: Pamela Rounis
Daniel Eckler Illustrators:
Art Director: Pamela Rounis, Jake Lim, Hans Thiessen
Richard Brown Writer:
Writer: John Eresman
Matthew Donne Studio Artist:
CEO: Jonathon Cesar
Franke Rodriguez Strategist:
Managing Director: Leah Gregg
Candace Borland —
— We created a holiday helper elf named Buttons who
Less than 20% of ad campaigns feature people comes to life on Facebook Messenger. Buttons was
of color. And the presentation decks used to distributed to Rethink’s clients as a physical card
sell those campaigns suffer from the same with a pop-out elf ornament. Using parametric cod-
problem: filled with mockups that don’t match ing, each elf delivers custom, personalized content
the diversity of the population. So we created a curated to each client. The magical, bilingual chat-
set of mockup templates to help start ideas in bot is able to hold holiday-themed conversations in
the same way we want them to end: as diverse real time, from time-saving holiday hacks to holiday
as the world around us. party tricks including jokes, drinking games, and
even a hangover prevention tool.
ADVERTISING
01
ADVERTISING - PROMOTIONAL ADVERTISING - PROMOTIONAL

MISCELLANEOUS - SINGLE (All) MISCELLANEOUS - SINGLE
01 Skateable Sandwich Board YOUNG BLOOD
Rethink, Toronto/Montreal/Vancouver ADVERTISING - SINGLE
w: rethinkcanada.com 02 Volkswagen Pride
Client: The Drive Skate Shop DDB Canada, Toronto, ON
Creative Directors: Chris Staples, t: 416-925-9819
Ian Grais e: allan.topol@ddbcanada.com
Art Director: Vic Bath w: ddb.ca
Writer: Jordon Lawson Young Blood: Tina Peng
Producer: Sarah Vingoe Creative Directors: Allan Topol,
Account Manager: Dan Culic Craig Ferguson
— Art Director: Tina Peng
To help promote The Drive Skate Shop, Copywriter: Pavan Meshram
we created a fully-skateable sandwich Account Executive: Molly Seewald
board. A fun, attention-grabbing piece Strategist: Steph Joudrey
of outdoor that truly embodies the —
skateboarding ethos. An ad for pride month. Love to all
from the Love Bug.
CAT
LE
MULTIP
EG
ORY
W
INNER
ADVERTISING
PROMOTIONAL
MISCELLANEOUS
- SINGLE -
YOUNG BLOOD
ADVERTISING
- SINGLE -
02 02
ADVERTISING
ADVERTISING - PROMOTIONAL
CAT MISCELLANEOUS - SINGLE (All),
LE EXPERIENTIAL/EVENT - SINGLE (All),
MULTIP
EG

ORY
03 Thermal Discount
W w: rethinkcanada.com
INNER Client: FGL Sports Ltée (Sports Experts)
ADVERTISING Creative Directors: Nicolas Quintal, Chris Staples,
PROMOTIONAL Ian Grais
MISCELLANEOUS Writer: Xavier Blais
- SINGLE - Art Director: Maxime Sauté
EXPERIENTIAL/EVENT Strategist: Pascal Routhier
- SINGLE - Account Manager: Alexe Dupont
ADVERTISING —
NON-TRADITIONAL An interactive display equipped with a thermal
- SINGLE - detecting camera was installed above the stairs in
a Montreal subway station. When people chose the
03 stairs they received a discount based on how high
their body heat rose.
ADVERTISING
01
ADVERTISING - PROMOTIONAL MISCELLANEOUS - SINGLE (All),

CAT VIRAL/SOCIAL - SINGLE (All)
LE 01 BP in Bed
MULTIP
EG

ORY
t: 416-348-0048
W w: johnst.com
INNER Chief Creative Officer: Angus Tucker
Creative Director: Paul Little
ADVERTISING Art Director: Dorota Pankowska
PROMOTIONAL
MISCELLANEOUS
Writer: Kohl Forseberg
- SINGLE - Executive Director, Design: Mooren Bofill
Designer: Mike Arnott
VIRAL/SOCIAL
—
- SINGLE -
We made the world’s first pizza box designed for eating pizza in bed.
And the internet dug it.
ADVERTISING
CAT MISCELLANEOUS - SINGLE (All),
LE
MULTIP
EG
02 BP Patio Furniture
ORY
t: 416-348-0048
W e: angus.tucker@johnst.com
INNER
w: johnst.com
Creative Director:
ADVERTISING
PROMOTIONAL Paul Little
MISCELLANEOUS Chief Creative Officer:
- SINGLE - Angus Tucker
ADVERTISING
Copywriters:
NON-TRADITIONAL Robbie Percy, Ryan Kukec
Caroline Friesen
Executive Director:
Cas Binnington
Head Of Integrated Production:
Aimee DeParolis
—
To promote its patio season, Boston Pizza created
miniature patio chairs to match the iconic “pizza
saver” tables that come in its takeout boxes. The
chairs were custom 3D printed and delivered with
orders from select locations. The story was shared
by everyone from news outlets like Fox Business
News to personalities like Pee Wee Herman to the
godfather of memes himself: The Fat Jewish.
02
CAT MISCELLANEOUS - SINGLE
LE ADVERTISING - NON-TRADITIONAL - SINGLE
MULTIP
EG
03 The Bulletproof Flag

ORY
Sid Lee, Toronto, ON

W Jeffrey Da Silva
Kelsey Horne, Alexis Bronstorph, Laura Stein
ADVERTISING
PROMOTIONAL Art Director:
MISCELLANEOUS Alex Boland
- SINGLE - Designer:
ADVERTISING
Alex Boland
NON-TRADITIONAL Account Manager:
- SINGLE - Michelle Calderoni
Producers:
Richard Jean-Baptiste, Kelsey-Lynn Corradetti
—
A flag made entirely out of Kevlar symbolizes the
unification of Black Lives Matter Canada.
03
ADVERTISING
EXPERIENTIAL/EVENT - SINGLE
01 Desert Roulette
Client:
WestJet
Creative Directors:
Aaron Starkman, Chris Staples, Ian Grais,
Dre Labre
Art Directors:
01 Kevin Filliter, Joel Holtby, Lia MacLeod
Writers:
Jordan Cohen, Mike Dubrick, Krista Raspor
Producers:
Cat Dumas, Ron Zeeman
Strategists:
Darren Yada, Leah Gregg
desertroulette_case
—
Toronto passengers flying with WestJet en route
to Las Vegas last week got the surprise of a
lifetime on their final descent — a kilometer-long,
projected-light, prize wheel lighting up on in the
middle of the desert.
ADVERTISING
EXPERIENTIAL/EVENT - SINGLE (All),

LE 02 100,000 Hugs for SickKids
MULTIP
EG
ORY
Client:
W Kraft Peanut Butter
Mike Dubrick, Joel Holtby, Aaron Starkman,
EXPERIENTIAL/EVENT
- SINGLE -
Art Directors:
VIRAL/SOCIAL Rebecca May, Jake Bundock, Laura Vardy
- SINGLE - Writers:
Gabrielle Elliot, Kyla Galloway, Geoff Baillie
Strategists:
Julian Morgan, Sean McDonald
Broadcast Producer:
Laura Rioux
—
A bear hug goes a really long way, especially when
it’s for a good cause. Kraft Peanut Butter wanted
to engage Canadians, and ask for their support in
raising $100,000 for SickKids Children’s Hospital
with 100,000 bear hugs. For every hug the bears
received, Kraft donated $1.
02
ADVERTISING

CAT VIRAL/SOCIAL - SINGLE (All),
LE EXPERIMENTAL/ARTISTIC - SINGLE (All)
MULTIP
EG
01 IKEA DRÄG
ORY
W Client:
INNER IKEA
Creative Directors:
EXPERIENTIAL/EVENT
- SINGLE - Aaron Starkman, Ian Grais, Chris Staples
Art Director:
VIRAL/SOCIAL Skye Deluz
- SINGLE -
Writer:
EXPERIMENTAL/ Kyle Simons
ARTISTIC Strategist:
- SINGLE -
Hannah Newport
Amplification Strategist:
Aliz Tennant
—
To celebrate Pride, drag queens made stunning
outfits, not out of clothes but out of IKEA products.
This is DRÄG: a celebration of LGBTQ+ pride and
it’s beautiful possibilities. Because being yourself
makes beautiful things happen.
01
ADVERTISING

ADVERTISING - NON-TRADITIONAL - SINGLE (All),
EXPERIMENTAL/ARTISTIC - SINGLE (All)
02 Seeker
w: cossette.com
Associate Creative Director/CW:
Rachel Abrams
Associate Creative Director/AD:
Jake Bundock
Agency Producer:
Erica Metcalfe
Account Director:
Daniel Dolan
Group Account Director:
Melissa Levenberg
review/287494374/688cc23a8e
—
Seeker is a first-of-its-kind travel planning tool that
measures biometric and behavioural reactions to
understand where your heart truly wants to go. The
live experience tests affinity for travel motivators
measured through heart rate, levels of stress/calm,
and brainwaves. Data is animated in real-time into
portraits of personality, as unique as a fingerprint
suggesting bespoke destinations. An online version
of “Seeker” mirrors the live event using the webcam
to monitor heart rate.
02
CAT
LE
MULTIP
EG
ORY
W
INNER
EXPERIENTIAL/EVENT
- SINGLE -
ADVERTISING
NON-TRADITIONAL
- SINGLE -
EXPERIMENTAL/
ARTISTIC
- SINGLE -
ADVERTISING
01
ADVERTISING
EXPERIENTIAL/EVENT - SINGLE
01 Cioccolato’s
t: 416-348-0048
w: johnst.com
Creative Director:
Mark Scott
Art Director:
Kara Wark
Writer:
Ryan Kukec
Designer:
Ming Mikaeo
Angus Tucker
Mooren Bofill
—
Dr. Oetker was launching their most indulgent
product yet: chocolate pizza. So we launched this
new pizza in the most indulgent way: by giving
Canadians their first taste in a pizzeria made
entirely out of chocolate.
ADVERTISING - NON-TRADITIONAL - SERIES

02 Reskinning Queen Street West
t: 416-777-9858
Client:
Consonant Skincare
Zak Mroueh
Creative Director:
Gary Watson
Design Director:
Ryan Booth
Art Directors:
Kevin Sato, Kyle Winsor, Manali Kulkarni
Writers:
Monika Leck, Ian Dunlop, Dylan Verwey
—
With 100% natural ingredients, Consonant is a
skincare company doing things differently. With a
new flagship location opening on Toronto’s Queen
Street West, we needed to earn the attention of
shoppers in one of Canada’s most vibrant retail
environments. So, we looked for inspiration
outside the skincare category and found it on the
streets. Dry, damaged and cracked, we used the
street’s textures to speak to the skincare needs
Consonant’s products were designed to address.
02

ADVERTISING
01
ADVERTISING - NON-TRADITIONAL - SERIES

01 Oh Henry! 4:25
Anomaly, Toronto, ON
t: 647-547-3440
e: tor_awards@anomaly.com
w: anoamly.com
Executive Creative Directors: Pete Breton, Dave Douglass
Creative Director: Jamie Marcovitch
Copywriter: Marko Pandza
Art Director: Jason Kerr
CEO: Franke Rodriguez
Managing Director: Candace Borland
—
With the upcoming national legalization of marijuana, more people will
be enjoying 4:20 than ever. That means more Canadians will be getting
the munchies, which is a huge opportunity for Oh Henry!, the #1 Canadian
hunger bar. We created Oh Henry! 4:25 — a brand new bar formulated for
the intense hunger that hits 5 minutes after 4:20, launched with a national
campaign a day after the Cannabis Act was voted into law.
ADVERTISING
ONLINE BANNER AD - SINGLE

02 Globe & Mail Sound Sync
Target, St. John’s, NL
t: 709-739-8400
e: info@targetmarketing.ca
w: targetmarketing.ca
Creative Director: Tom Murphy
Creative Group Head: Kevan Kalyan
Copywriters: Jordan Finlayson, Randy Diplock,
Bob Wood
Digital Design Lead: Ryan Strickland
Strategic Planner: Noel O’Dea
Senior Designer/Developer: Terry Hudson
—
Featuring an old-fashioned radio tuner
interface, the synchronized ad units on the
Globe and Mail site adjusted the audio track
and visual messaging as the user “tuned” the
radio dial, linking to the complete interactive
experience on SoundsFromTheEdge.fm.
02
ADVERTISING
ONLINE BANNER AD - SERIES (All),

CAT MOBILE/TABLET - SINGLE (All)
LE 01 Cottonelle - Strokable Banners
MULTIP
EG
Ogilvy, Toronto, ON
ORY
t: 416-945-2210
W w: ogilvy-canada.com
INNER Chief Creative Officer:
Brian Murray
ONLINE BANNER AD
Copywriters:
- SERIES -
Max OssRech, Pam Danowski
01 MOBILE/TABLET Creative Group Head:
- SINGLE -
Joe Morris
Art Director:
Amy Fernandes
Account Manager:
Aviva Groll
Account Supervisor:
Samantha Weisbarth
—
To get people using Cottonelle Cleansing
Cloths to clean before and after sex, we created
Cottonelle Strokable Banners. The mobile ad
units were geofenced to target only those
attending Pride events. The banners used the
accelerometer and touchscreen features of
smartphones to create a fun and engaging
experience, inviting the users to interact with
the banner in unexpected ways by stroking an
eggplant or rubbing a pussycat emoji to get a
coupon for the product.
ADVERTISING
ONLINE VIDEO - SINGLE (All),

BRANDED OR SPONSORED
CONTENT - SINGLE (All)
02 Ghosts of the Forum
Client:
FGL Sports Ltée (Sports Experts)
Creative Directors:
Writer:
Xavier Blais
Art Director:
Maxime Sauté
Strategist:
Pascal Routhier
Producers:
Marie-Noëlle Rosso, Guillaume Dubois,
Marc-André Gilbert, Jean-René Parenteau
ghostsoftheforum_case
—
According to local legend, the Habs’ history
of success can be attributed to the presence
of deceased players’ ghosts. These helpers,
known as the “Ghosts of the Forum”, seemed
to bring luck to the team. Unfortunately, they
didn’t seem to follow the team once it moved
to a new arena. With a paranormal expert,
we set out to find and move the Ghosts from
the Forum to the Bell Centre.
CAT
LE
MULTIP
EG
ORY
W
INNER
ONLINE VIDEO
- SINGLE -
BRANDED OR
SPONSORED CONTENT
- SINGLE -
02
ADVERTISING

BRANDED OR SPONSORED CONTENT - SINGLE (All)
01 Huggies - Behind The Door
Ogilvy, Toronto, ON
t: 416-945-2210
w: ogilvy-canada.com
Chief Creative Officer: Brian Murray
Group Creative Directors: Chris Dacyshyn, Julie Markle
Strategic Planning Director: Michelle Lee
Copywriter: Samantha Ramsay
Art Director: Amy Fernandes
Account Manager: Aviva Groll
—
To show the power of hugs, Huggies went behind the
closed door of Nanaimo General’s isolation nursery.
“Behind The Door” captured Huggies No Baby Unhugged
hospital volunteers helping to ease the pain of babies
01 born with drug addiction.
CAT
LE
MULTIP
EG
ORY
W
INNER
ONLINE VIDEO
- SINGLE -
BRANDED OR
SPONSORED CONTENT
- SINGLE -
ADVERTISING
02

CAT YOUNG BLOOD ADVERTISING - SINGLE (All),
LE YOUNG BLOOD INTERACTIVE ADVERTISING - SERIES (All),
MULTIP
EG
OVER 30 SECONDS - SINGLE (All),

ORY
CINEMA (ANY LENGTH) - SINGLE (All)

02 Eat Together
W john st., Toronto, ON
INNER t: 416-348-0048
ONLINE VIDEO
w: johnst.com
- SINGLE -
Young Bloods: Robbie Percy, Caroline Friesen
YOUNG BLOOD Executive Creative Directors: Angus Tucker, Stephen Jurisic
ADVERTISING
- SINGLE -
Copywriters: Robbie Percy, Jesse Wilks
YOUNG BLOOD Art Directors: Caroline Friesen, Gerardo Agbuya
INTERACTIVE Head Of Integrated Production: Aimee DeParolis
ADVERTISING
- SERIES - Winning Entry: youtube.com/watch?v=aWTdX_WxzJA
—
OVER 30 SECONDS We live in a world that’s supposedly more “connected” than ever. However,
- SINGLE -
people report feeling more disconnected than ever before. That’s why President’s
CINEMA (ANY LENGTH) Choice is suggesting one simple way to fight this - by eating together. Despite
- SINGLE - only airing on TV 3 times, this short film was viewed over 60 million times online.
Facebook Canada reported that historically it had the most shares in one day for
a piece of promoted content.

ADVERTISING
ONLINE VIDEO - SINGLE

01 Audition Tape 7
w: cossette.com
Art Director:
Natalie Mathers
Copywriter:
Simon Rogers
Agency Producer:
Erica Metcalfe
Account Executive:
Ali Gayowski
Aniesha Farrington
—
Public Mobile trims frills to keep prices
low. We just extended that attitude to the
brand’s advertising.
01
ADVERTISING
ONLINE VIDEO - SINGLE

02 Audition Tape 10
w: cossette.com
Art Director:
Natalie Mathers
Copywriter:
Simon Rogers
Agency Producer:
Erica Metcalfe
Account Executive:
Ali Gayowski
Aniesha Farrington
—
Public Mobile trims frills to keep prices
low. We just extended that attitude to the
brand’s advertising.
02
ADVERTISING

CRAFT - MUSIC - SINGLE (All),
CRAFT - DIRECTION - SINGLE (All)
01 SickKids VS - DadStrong
w: cossette.com
Creative Directors:
Craig McIntosh, Jaimes Zentil
Noah Feferman
Jonathan Guy
Agency Producer:
Dena Thompson
Account Supervisor:
Lindsay Hill
review/287520047/5c102265f1
—
In the lead up to Father’s Day, SickKids wanted
to show how donations don’t just support sick
children; they go towards supporting their families
as well. So we decided to tell the story of Frank,
a SickKids dad whose real job doesn’t begin until
after his working day ends.
CAT
LE
MULTIP
EG
ORY
W
INNER
ONLINE VIDEO
- SINGLE -
CRAFT - MUSIC
- SINGLE -
CRAFT - DIRECTION
- SINGLE -
01
ADVERTISING

PSA/CHARITY (ANY LENGTH) - SINGLE (All),
CRAFT - CINEMATOGRAPHY - SINGLE (All),
02 SickKids VS - MomStrong
w: cossette.com
Creative Director/CW:
Craig McIntosh
Creative Director/AD:
Jaimes Zentil
Agency Producer:
Dena Thompson
Account Director:
Melissa Levenberg
VP, Brand Director:
Michelle Perez
review/287518760/34a304eac6
—
SickKids Hospital reminded potential donors that
it’s not just the child who suffers from severe
illness, but their entire family as well. For Mother’s
Day, we honoured the strength and resilience of
SickKids Moms by portraying their very real and
intimate daily struggle. The film started with raw,
emotional scenes of mothers breaking down in
private, then resolved to them putting on a brave
face to be strong for their sick child.
CAT
LE
MULTIP
EG
ORY
W
INNER
ONLINE VIDEO
- SINGLE -
OVER 30 SECONDS
- SINGLE -
PSA/CHARITY
(ANY LENGTH)
- SINGLE -
CRAFT - MUSIC
- SINGLE -
CRAFT
CINEMATOGRAPHY
- SINGLE -
CRAFT - DIRECTION
- SINGLE -
02
ADVERTISING

PSA/CHARITY (ANY LENGTH) - SINGLE (All),
CRAFT - EDITING - SINGLE (All),
CRAFT - CINEMATOGRAPHY - SINGLE (All),
01 SickKids VS - All In
w: cossette.com
Global Chief Creative Officers: Carlos Moreno,
Peter Ignazi
Creative Director/CW: Craig McIntosh
Creative Director/AD: Jaimes Zentil
Agency Producer: Dena Thompson
Account Coordinator: Maggie Kent
Account Director: Daniel Dolan
review/287517330/2bf0eddbbc
—
Built in 1949, SickKids Hospital was falling apart
and in desperate need of a $1.3 billion overhaul.
To communicate this critical need, we created an
integrated campaign featuring real patients drama-
tizing the fact that if they could build it themselves,
they would. The film depicted patients tearing
apart their neighbourhoods to salvage materials for
a new hospital. In targeted OOH and digital, larger-
than-life executions featured local patients calling
out their own neighbourhoods to join.
CAT
LE
MULTIP
EG
ORY
W
INNER
ONLINE VIDEO
- SINGLE -
OVER 30 SECONDS
- SINGLE -
PSA/CHARITY
(ANY LENGTH)
- SINGLE -
CRAFT - EDITING
- SINGLE -
CRAFT - MUSIC
- SINGLE -
CRAFT
CINEMATOGRAPHY
- SINGLE -
CRAFT - DIRECTION
- SINGLE -
01
ADVERTISING
ONLINE VIDEO - SERIES

02 Common Ground
t: 416-777-9858
Client: Harley-Davidson Canada
Chief Creative Officer: Zak Mroueh
Executive Creative Director: Allen Oke
Associate Creative Directors: Noel Fenn, Andrew Caie
Art Director: Brendan McMullen
Writer: Jacob Pacey
—
Three Harley riders from around the world explore Canada
guided by a Canadian rider they’ve never met.
02
ADVERTISING
WEBSITE - SINGLE
01 SoundsFromTheEdge.fm
t: 709-739-8400
Copywriters: Jordan Finlayson, Randy Diplock,
Bob Wood
—
Playfully featuring an old-fashioned radio tuner
interface (resonating with our 55+ traveller), the
site encouraged the audience to “tune in”. As
they scrolled though frequencies, they navigated
thematic stations, each with a supporting selection
of photos, videos and travel offers.
01
ADVERTISING
WEBSITE - SINGLE
02 IcebergFinder.com
t: 709-739-8400
Junior Digital Designer/Developer: Thomas Tognacci
—
In Newfoundland and Labrador, 10,000-year-old cathedrals of ice come
to visit every year. Along with them come travellers hoping to catch
a glimpse. The challenge with bergs is that they don’t sit still, so, we
embarked on a redesign of IcebergFinder.com. Incorporating a responsive
02 layout and an interactive map, icebergs are plotted using satellite data,
and enhanced by users and tourism operators on the ground. Added
social sharing features increased engagement and visit times.
ADVERTISING

LE 01 Backfire
MULTIP
EG
ORY
Client: States United Against Gun Violence
W Creative Directors: Hans Thiessen, Ian Grais,
INNER Chris Staples
Associate Creative Director: Sean O’Connor
WEBSITE
Art Director: Hans Thiessen
- SINGLE -
Writers: Sean O’Connor, John Eresman
VIRAL/SOCIAL Designers: Sheldon Rennie, Jake Lim,
- SINGLE - Hans Thiessen
backfire_case
—
Every 16 minutes in America, someone is shot and
killed. And yet, President Trump continues to fight
01
against common sense gun laws. Launching on
February 26, 2018, States United to Prevent Gun
Violence empowered Americans to fight back
with Backfire — a tool that let users auto-tweet the
President (on his platform of choice) every time an
American died from gun violence.
ADVERTISING

CAT MOBILE/TABLET - SINGLE (All),
LE PRO BONO - INTERACTIVE - SINGLE (All)
MULTIP
EG
02 Destination Pride
ORY
FCB/SIX, Toronto, ON
t: 416-894-3650
W e: ian.mackenzie@fcbsix.com
INNER
w: fcbsix.com
Executive Creative Director: Ian Mackenzie
WEBSITE
- SINGLE -
Associate Creative Directors: David Laing,
Krystle Mullin, Andrew Bernardi
MOBILE/TABLET Art Director: Devon Williamson
- SINGLE -
Copywriter: James Ly
PRO BONO Experience Designer: Patrick Stolk-Ramaker
INTERACTIVE Associate Design Director: Stuart Thursby
- SINGLE -
—
Destination Pride is a data-driven search platform
that reimagines the Pride flag as a dynamic bar
graph, then uses it to visualize the world’s LGBTQ+
laws, rights and social sentiment.
02
ADVERTISING
WEBSITE - SINGLE
01 Family Tree
w: cossette.com
Peter Ignazi, Carlos Moreno
Creative Directors:
Mario Cesareo, Sarah Rutherford
Senior Copywriter:
Elijah Di Gangi
Senior Art Director:
Andy Ng
Art Director:
Anton Mwewa
Noah Feferman
—
We needed to replenish SickKids’ donor pipeline.
To bring the unifying impact of SickKids to life
and turn audiences into brand advocates and
donors, we created the SickKids Family Tree. We
used social networks to invite existing donors
and event participants as well as their family,
friends and followers to join the tree. Users could
01
track their unique branch in real time and watch
their support network expand through a series of
stunning data visualizations.
ADVERTISING
WEBSITE - SINGLE
02 Seeker
w: cossette.com
Rachel Abrams
Jake Bundock
Agency Producer:
Erica Metcalfe
Account Director:
Daniel Dolan
Melissa Levenberg
Winning Entry: vimeo.com/user13084060/review/287494374/
688cc23a8e
—
Seeker is a first-of-its-kind travel planning tool that measures biometric
and behavioural reactions to understand where your heart truly wants
to go. The live experience tests affinity for travel motivators measured
through heart rate, levels of stress/calm, and brainwaves. Data is ani-
mated in real-time into portraits of personality, as unique as a fingerprint
suggesting bespoke destinations. An online version of “Seeker” mirrors
the live event using the webcam to monitor heart rate.
02
ADVERTISING
01a
01b
01c
CAT
LE
MULTIP
EG
ORY
W
INNER
VIRAL/SOCIAL
- SINGLE -
CRAFT - ANIMATION
- SERIES -
ADVERTISING
VIRAL/SOCIAL - SINGLE (01a),

CRAFT - ANIMATION - SERIES (All)
01 Snack Time: Insomnia / Concert / Rescue
t: 604-687-7911
w: ddb.ca
Creative Director: Neil Shapiro
Copywriter: Neil Shapiro
Art Director: John Larigakis
Agency Producer: Matthew Sy
VP: Patty Jones
—
Advertising to teens can be tricky, they spend
most of their time online and they hate being
forced to watch ads. So instead of forcing them
to watch an ad about milk we created something
they’d want to watch. Snack Time is a webseries
that centres around a carton of milk named
‘Carlton’ and the snacks that go well with him.
OFFLINE DIGITAL - SINGLE

02 Cottonelle - Strokable Billboards
Ogilvy, Toronto, ON
t: 416-945-2210
Brian Murray
Copywriters:
Max OssRech, Pam Danowski
Creative Group Head:
Joe Morris
Art Directors:
Heather MacDonald, Amy Fernandes
Account Manager:
Aviva Groll
Account Supervisor:
Samantha Weisbarth
—
To show Canadians a new way of using
Cottonelle Cleansing Cloths, we decided to
talk about something no one likes to talk about:
cleaning up before and after sex. To do that,
we invited Canadians at Toronto Pride to get
dirty with us by playing with Cottonelle Strok-
able Billboards, an engaging experience that
rewarded people with a pack of Cottonelle for
02 stroking our interactive installation.
ADVERTISING
01 Tenor Takeover
UNION, Toronto, ON
t: 416-598-4944
Company: UNION
Chief Creative Officer: Lance Martin
Creative Directors: Adam Thur, Rica Eckersley
Producers: Jennifer Dark, David Stulberg,
Karen Rayes, James Porter
Account Directors: Kimberly Welsh,
Amy Greenspoon
Account Manager: Beatrice Dauphinais-Borque
—
D’Italiano brings the passion of Italy to the every-
day. To dramatize this, we took over the YouTube
Masthead for a day and had Italian tenors sing real
people’s Tweets LIVE... in opera. People submitted
Tweets about bread using #livelargetweets –
either from the banner or directly on Twitter, then
our tenors would sing those Tweets in opera.
All. Day. Long. This first-of-its kind collaboration
between Google and Twitter resulted in over 33
01 million impressions.
ADVERTISING
02
02 Beautifully Real Moms
Ogilvy, Toronto, ON
t: 416-945-2210
Chief Creative Officers: Brian Murray, Ian MacKellar
Copywriter: Chris Dacyshyn
Art Director: Julie Markle
Group Creative Directors: Chris Dacyshyn, Julie Markle
Strategist: Crystal Sales
Account Manager: Aviva Groll
—
To let mothers know that being a real mom is better than being
a perfect one, Baby Dove sent world-renown photojournalists
into moms’ homes to capture the true beauty of motherhood.
The images were displayed in an online gallery and promoted
in social, print and OOH.
ADVERTISING
BRANDED OR SPONSORED CONTENT - SINGLE

OVER 30 SECONDS - SINGLE
CINEMA (ANY LENGTH) - SINGLE
01 Break Bread Smash Stigma - Documentary
Creative Directors: Laura Serra (Narrative), Meredith Klapowich (Narrative)
Production House: Untitled Films
Director: Hubert Davis
—
Even in a country as progressive as Canada, 50% of Canadians wouldn’t
eat a meal prepared by someone with HIV. To smash HIV stigma, we
opened the world’s first HIV-positive eatery and named it “June’s” after
Casey House founder, June Callwood. We attracted the attention an
Oscar-nominated director, Hubert Davis, to create a documentary about
the June’s experience. It premiered in cinema, and was later picked up by
HBO, giving June’s an even wider audience.
CAT
LE
MULTIP
EG
ORY
W
INNER
BRANDED OR
SPONSORED CONTENT
- SINGLE -
OVER 30 SECONDS
- SINGLE -
CINEMA (ANY LENGTH)
- SINGLE -
01
ADVERTISING
BRANDED OR SPONSORED CONTENT - SINGLE

CAT CINEMA (ANY LENGTH) - SINGLE
LE CRAFT - MUSIC - SINGLE
MULTIP
EG
CRAFT - CINEMATOGRAPHY - SINGLE
ORY
CRAFT - DIRECTION - SINGLE
CRAFT - COPYWRITING - SINGLE
W 02 Dream Thieves
INNER Cossette, Toronto, ON
w: cossette.com
BRANDED OR
Global Chief Creative Officers: Carlos Moreno,
SPONSORED CONTENT
- SINGLE - Peter Ignazi
Creative Director/CW: Craig McIntosh
CINEMA (ANY LENGTH)
Creative Director/AD: Jaimes Zentil
- SINGLE -
Agency Producer: Dena Thompson
CRAFT - MUSIC Account Director: Tyler Harris
- SINGLE -
VP Client Lead: Anabella Mandel
CRAFT - Winning Entry: vimeo.com/user13084060/
CINEMATOGRAPHY review/287663384/12d1ef5f14
- SINGLE - —
CRAFT - DIRECTION As a start-up financial service, KOHO needed to
- SINGLE - launch its business in a dramatic way in order to
CRAFT - COPYWRITING gain the attention of an elusive consumer. We
- SINGLE - created a 13-minute film dramatizing the predatory
practices of the traditional Canadian financial
system, portraying it as a dark an insidious force
that fills customer’s heads with dreams of a better,
happier life only to steal it back while they sleep.
02
ADVERTISING
EXPERIMENTAL/ARTISTIC - SINGLE
OVER 30 SECONDS - SINGLE
CINEMA (ANY LENGTH) - SINGLE
CRAFT - MUSIC - SINGLE
01 Piano
w: cossette.com
Art Directors:
Spencer Dingle, Justin Poulsen
Copywriter:
Jordan Hamer
Agency Producer:
Sharon Yokoyama
Designer:
Corey Way
Isabella Iannetta
review/287667311/7b83709d94
—
THINGS YOU CAN’T UNTHINK was created
to capture the thought-provoking nature of
the courses and exhibits at Banff Centre,
and translate it into a campaign that would
grab the attention of viewers with an un-
thinkable experience.
01
CAT
LE
MULTIP
EG
ORY
W
INNER
EXPERIMENTAL/
ARTISTIC
- SINGLE -
OVER 30 SECONDS
- SINGLE -
CINEMA (ANY LENGTH)
- SINGLE -
CRAFT - MUSIC
- SINGLE -
ADVERTISING

CAT PRO BONO - INTERACTIVE - SERIES
LE 02 Six-Second Ambush Advisories
MULTIP
EG
ORY
Client:
W YWCA
Ian Grais, Chris Staples, Aaron Starkman,
PUBLIC SERVICE/
Mike Dubrick
CHARITY
Pamela Rounis
PRO BONO
Writers:
INTERACTIVE
- SERIES - Jordon Lawson, Max May
Strategist:
Darren Yada
Producer:
Megan O’Connor
—
Sexualization in popular media contributes to
violence against women. So the YWCA decided
to warn young viewers about the content
they’re about to watch, by hijacking YouTube’s
advanced ad targeting to run unskippable
six-second warnings in front of specific music
videos (YouTube’s most popular content) that
objectify women and men.
02
ADVERTISING
01
ADVERTISING
INTERACTIVE MISCELLANEOUS - SINGLE

01 Play it by Ear Contest
t: 709-739-8400
Creative Group Heads: Kevan Kalyan, Dave Sullivan
Junior Digital Designer/Developer: Thomas Tognacci
Account Director: Ernie Brake
—
The “Play It By Ear” contest gave visitors a chance to ‘hold the baton’ and create
their own sound tracked video in an effort to win prizes that included a trip to
Newfoundland and Labrador. Entrants could select from more than 50 sounds
02 (and accompanying video) using an intuitive drag-and-drop interface, and then
export and share their composition without leaving the site.
INTERACTIVE MISCELLANEOUS - SINGLE

02 Vancouver Street View
Client: RainCity Housing
Creative Directors: Chris Staples, Ian Grais
Art Director: Liana Mascagni
Writer: Jordon Lawson
Interactive Producer: Kyle Hicks
Developer: Dustin Gamble
—
To support the need for affordable and social housing across the Greater
Vancouver Area we teamed up with not-for-profit RainCity housing. We created
a campaign that allows users to toggle between Google Street View images
taken in the last four years and see how the number of people identifying as
homeless has increased across Metro Vancouver.
BROADCAST
ABUSE ADDICTION COMING OUT
ANNCR: Where would you feel safer? ANNCR: Which one feels more like ANNCR: Where would you rather sleep?
Here… home? This place? Here…
SFX: Open on the sound of an angry SFX: Open on the sound of footsteps SFX: Open on muffled sounds of two
man starting a fight with his son at home. and a door opening. A woman speaks, parents fighting in the next room.
As the Dad gets angrier, his voice gets her speech slurred.
louder, like he’s closer to the listener. MOM: John, please.
MOM: (Sigh) Where did you hide it? I
DAD: What did I say about leaving your know you have it. DAD: Absolutely not. That’s not my son –
crap in the hallway?
ANNCR: Or this one? ANNCR: Or here?
MOM: Steve, don’t –
SFX: Cut to the sound of rain, and a pipe SFX: Cut to sounds of a street. We hear
ANNCR: Or here? dripping. In the background, we hear the a beeping cross walk sign, and cars
sound of people in the distance talking passing by.
SFX: Cut to street sounds. We hear a dog and laughing as they pass.
barking in the distance, and the buzz of a ANNCR: With these sounds…
lamppost. Cut back to home sounds. ANNCR: This bedroom…
SFX: Cut back to home sounds.
ANNCR: With family… SFX: Cut back to home sounds. We con-
tinue to hear a woman yelling and items DAD: I don’t even know who that is any-
DAD: (thoroughly clenched) Do you think being shoved to the side. more. I did not raise him like this –
we live to pick up after you? Huh?
MOM: Do you like seeing your own ANNCR: Or these…
ANNCR: Or no one? mother in pain?!
SFX: Cut back to street sounds that
SFX: Cut back to quiet street sounds. ANNCR: Or this bedroom? almost sound soothing in comparison to
the yelling.
ANNCR: Home? SFX: Cut back to street sounds.
ANNCR: Home…
SFX: Cut back to home sounds. The ANNCR: Home…
father is now very angry. We hear more SFX: Cut back to home sounds.
shoving and pushing sounds, followed by SFX: Cut back to home sounds. We hear
a struggle between two people. a swishing sound, and a glass bottle DAD: And I sure as hell didn’t raise him
breaking. to be gay.
DAD: I work all day to come home to this!
(Increasingly angry) You ungrateful – MOM: Give it to me! Now! ANNCR: Or the street?
MOM: Steve! ANNCR: Or the street? SFX: Cut back to street sounds. We hear
an announcer’s voice over the ambience.
ANNCR: Or the street? SFX: Cut back to street sounds. We hear
an announcer’s voice over the ambience. ANNCR: 3 in 10 homeless youth are
SFX: Cut back to street sounds. We hear forced to choose the street after coming
an announcer’s voice over the ambience. ANNCR: 3 in 10 homeless youth are out. We work to prevent this from ever
forced to choose the street because of happening again. Support us at
ANNCR: 3 in 5 homeless youth are a parent’s substance abuse. We work to Raisingtheroof.org.
forced to choose the street after expe- prevent this from ever happening again.
riencing trauma and abuse. We work to Support us at Raisingtheroof.org.
prevent this from ever happening again.
Support us at Raisingtheroof.org.
01 01 01
BROADCAST
NO VO BORING KNOCK KNOCK
I bet you are wondering why NoFrills The free computer voice we got to read Knock knock.
would choose this boring robotic voice our NoFrills radio commercial may be
to narrate their important radio com- boring. Who’s there?
mercial.
But you know what’s not boring? Banana.
Well you can stop wondering.
Our affordable watermelons. Banana who?
It’s cheaper.
Because we did not hire an expensive Bananas are on sale at NoFrills for a
And at No Frills we keep our prices as actor to read our commercial, you can lot less than the other grocery stores
low as possible by getting rid of the frills afford to enjoy more sweet sweet water- because NoFrills used this free, but
that make the price of your food higher. melon juices dripping sensually down beautiful computer voice they found
your cheeks on a hot summer’s day. online to read their radio commercial
So by not paying for a fancy voiceover rather than hiring expensive actors and
we can keep our fresh carrots priced Their pink flesh. So tender, so fresh. booking fancy production studios which
lower than your opinion of this radio are costs that end up on your grocery
commercial. Vulnerable and perfect. bill when you’re just trying to buy some
delicious, crunchy baby carrots.
Ha ha ha ha ha ha ha ha ha ha ha ha. Wow, I am so very very lonely.
Okay.
I’m so funny. Get the frill out of your bill.
That joke looked a lot funnier on paper.
Get the frill out of your bill. NoFrills.
Get the frill out of your bill.
NoFrills.
NoFrills.
02 02 02
CAT PSA/CHARITY (ANY LENGTH) - SERIES 30 SECONDS OR LESS - SERIES (All),

LE 01 Home or Street: Which is Worse? YOUNG BLOOD RADIO - SERIES (All)
MULTIP
EG
Abuse, Addiction, Coming Out 02 The Cheapest Radio Ever

ORY
Leo Burnett, Toronto, ON No VO, Boring, Knock Knock

Chief Creative Officer: Judy John john st., Toronto, ON
W Group Creative Directors: Steve Persico, t: 416-348-0048
INNER Anthony Chelvanathan e: angus.tucker@johnst.com
Copywriter: Shauna Roe w: johnst.com
30 SECONDS OR LESS Art Director: Mary Soroka Young Bloods:
- SERIES -
Agency Producer: Tina Muratovic Maddie Rosenberg, Ela Kallonen
YOUNG BLOOD Group Account Director: Ngaio Potts Chief Creative Officer:
RADIO — Angus Tucker
- SERIES -
When we see homeless youth on the street, we of- Creative Director:
02
ten question what they did to end up there, instead Cher Campbell
of questioning what they may be escaping from. Copywriter:
Three 30-second radio spots used sound design Maddie Rosenberg
to change perceptions toward homeless youth, by Art Director: Ela Kallonen
making the street seem like a better option than Agency Producer:
home when you’re faced with parents who are Aimee DeParolis
abusive, suffer from addiction, or don’t accept you —
for who you are. To keep the cost of their groceries as low as
possible, No Frills, a discount grocery store in
Canada, used a free online text to voice reader
to read their radio commercials rather than
spending tens of thousands of dollars on actors,
recording studios, and editors. The agency writ-
er wrote the ads, recorded them on her laptop
using the text to voice reader, and shipped them
directly to the radio stations.
BROADCAST
PIZZA CAR SALESMAN HAIR SALON
Our spot opens with an elderly man ‘Our spot begins with an enthusiastic car Our spot will open with a cheery jingle
talking in a slight Italian accent about his salesman promoting a holiday sale. As for Tina’s Beauty Salon. But quickly, the
pizza shop. As the story continues, his the spot continues, his tone becomes song will change to reflect the somber
tone becomes more and more somber as more saddened and distressed, as it’s story of why Tina is working in poverty –
he reveals that he’s working in poverty. revealed that he’s struggling with pover- with the music and the singer becoming
In the end, he makes a plea for people to ty. In the final line, he tries to compose more sorrowful.
come into his shop. himself once again.
SINGER: Beautiful hair begins at Tina’s!
OLD MAN (OWNER): At Fredo’s Pizza, CAR SALESMAN: Hey there folks, it’s
we have over 50 years of authentic pizza Dealin’ Dan bringin’ you ho-ho-holiday TINA: At Tina’s Beauty Salon, we’re
tradition. savings on all trucks and SUVS! offering big savings to get your hair
holiday ready.
We work day and night, because with That’s right, it’s the holidays, and I’ve got
our apartment’s rising rent, we can’t kids at home that haven’t had a hot meal SINGER: Discounted cuts because her
afford to stop working... for two weeks now… dad is sick again...
But while my wife and I struggle to keep I’ll take anything I can get. TINA: Please, hurry in to book your
the heat on at home, you can always
appointment today.
expect fresh, hot pizza at Fredo’s. Anything, just to feed them this month…
So please!
Please, come in today. SINGER: Now she can’t afford rent and
Hurry in for big savings. his medical bills.
ANCR: Poverty isn’t always easy to see.
This Christmas, donate to help those in ANCR: Poverty isn’t always easy to see. ANCR: Poverty isn’t always easy to see.
need at SalvationArmy.ca This Christmas, donate to help those in This Christmas, donate to help those in
need at SalvationArmy.ca need at SalvationArmy.ca
01 01 01
FREE AIR FROM FREE AIR FROM FREE AIR FROM

McDONALD’S MERCEDES-BENZ HASBRO TOYS
Read by a child with cystic fibrosis. Read by a child with cystic fibrosis. Read by a child with cystic fibrosis.
MADI: Hi, this was supposed to be an ad CADEN: Hi, this was supposed to be an MJ: Hi, this was supposed to be an ad
for McDonald’s. ad for Mercedes-Benz Toronto. for Hasbro Toys.
But instead, they gave their airtime to But instead, they gave their airtime to But instead, they gave their airtime to
me, Madi. me, Caden. me, MJ.
Air isn’t something I can take for Air isn’t something I can take for Air isn’t something I can take for
granted, because I have cystic fibrosis. granted, because I have cystic fibrosis. granted, because I have cystic fibrosis.
But I am not alone. SickKids provides But I am not alone. SickKids provides But I am not alone. SickKids provides
clinics and therapies for kids like me. clinics and therapies for kids like me. clinics and therapies for kids like me.
They discovered the cystic fibrosis They discovered the cystic fibrosis They discovered the cystic fibrosis
gene and together with Cystic Fibrosis gene and together with Cystic Fibrosis gene and together with Cystic Fibrosis
Canada, they’re looking for the cure. Canada, they’re looking for the cure. Canada, they’re looking for the cure.
Go to Sick Kids free air dot com to learn Go to Sick Kids free air dot com to learn Go to Sick Kids free air dot com to learn
how you can help. how you can help. how you can help.
Thank you. Thanks. Thank you.
02 02 02
CAT 30 SECONDS OR LESS

LE - SERIES -
MULTIP
EG
PSA/CHARITY
ORY
(ANY LENGTH)
- SERIES -
W PRO BONO
INNER - SERIES -
02
BROADCAST
HEART STOMACH ORGANS
SFX: HEARTBEAT STOMACH: How’s it goin’ brain? BRAIN: Eyeballs, this is brain.
The heart speaks in bursts, repeating
itself to the rhythm of its beating. BRAIN: Heeeey, what’s up stomach? EYES: Hello, brain!
HEART: Oh no. Oh no. Oh no. Oh no. STOMACH: I’m having the best day. BRAIN: Ears, do you read?
Oh no. Popcorn, cotton candy, a corndog! Then
bam! Mini donuts. EARS: Loud and clear!
BRAIN: Uh, hey heart it’s brain. How ya
doin’ there? Ready to ride the Beast? BRAIN: Nice! BRAIN: Vocal chords?
HEART: Hi brain. I’m fine. Totally fine. Oh STOMACH: I am one stuffed tummy. VOCAL CHORDS: (WARMING UP)
no. Oh dear. Oh my. Yep, nothing could possibly ruin this Standing by!
magical da--
BRAIN: Don’t worry! It’s just swinging BRAIN: All right, this is what we’ve
upside down while spinning. It’s fun! The SFX: MUFFLED RIDE LAUNCH trained for. I don’t want any accidents
heart speeds up. this time. Bladder, I’m
STOMACH: Whhaaaaaaaaaa!!!! What’s looking at you.
HEART: Oh geez. Oh no. Oh boy. Let’s happening!? We’re flying!!
not. Turn around. Gonna die. Gonna die. BLADDER: Sorry.
BRAIN: Hold on, stomach! Hold on!
BRAIN: No turning back now, we’re BRAIN: Okay lungs, deep breath in.
about to launch! STOMACH: Prepare to evacuate in five… Heart, can we cool it on the pounding
four… please? Aaaaand…
HEART: ABORT ABORT ABORT ABORT
ABORT ABORT BRAIN: No! Don’t do it. SFX: MUFFLED RIDE LAUNCH
BRAIN: Never!! The ride launches. STOMACH: ...three… two… ALL: AAAAAAHAHHAAAA!!!
BRAIN: Wheeeeee!!! BRAIN: I’ll tell the hands to hold back THE RIDE ENDS. PAUSE.
the hair!
HEART: Aaaaahhhh!! BLADDER: Sorry.
STOMACH: one…
SFX: SPEAKER CRACKLE SFX: SPEAKER CRACKLE
BRAIN: AAAAAHHH--
ANNCR: Playland. Now open daily. ANNCR: Playland. Now open daily.
SFX: SPEAKER CRACKLE
ANNCR: Playland. Now open daily.
03 03 03
PSA/CHARITY (ANY LENGTH) - SERIES 30 SECONDS OR LESS - SERIES (All), 30 SECONDS OR LESS - SERIES
01 Salvation Army - Radio PSA/CHARITY (ANY LENGTH) - SERIES (All), 03 Heart, Stomach, Organs
GREY Canada, Toronto, ON PRO BONO - SERIES (All) Rethink, Toronto/Montreal/Vancouver
Chief Creative Officer: 02 Free Air Time: w: rethinkcanada.com
Helen Pak McDonald’s/Mercedes-Benz/Hasbro Toys Client:
Executive Creative Directors: Cossette, Toronto, ON Playland
Joel Arbez, James Ansley w: cossette.com Creative Directors:
Copywriter: Global Chief Creative Officers: Ian Grais, Chris Staples
Sara Radovanovich Peter Ignazi, Carlos Moreno Writer:
Art Director: Associate Creative Director/AD: Morgan Tierney
Perle Arteta Jonathan Guy Broadcast Producer:
Account Supervisor: Copywriter: Carla Olson
Siobhan Doyle Simon Rogers Production Company:
Producer: Agency Producer: Wave Productions
Vanessa Birze Erica Metcalfe Audio Producer:
— Account Director: Megan Hughes
Poverty isn’t always easy to see – over 30% Andrea O’Donnell —
of those who rely on The Salvation Army’s for Group Account Director: Listen up, ears! This year’s Playland radio
food, clothing and shelter have a job. Melissa Levenberg campaign takes you on a heart-pounding,
— gut-wrenching, bladder-busting thrill ride,
Cystic Fibrosis is the most common fatal genetic as told by the body parts themselves.
disease affecting Canadian children. For Cystic
Fibrosis Month (May), SickKids Hospital needed
a breakthrough way to spread awareness of the
disease, and raise donations for research.
BROADCAST
FOCUS REACTION TIME

INTRO FOR ADDED CONTEXT FOR NARRATOR
JUDGES: The spots present Pierre and If you’ve used marijuana, don’t drive,
François, francophones who try to speak because marijuana slows down your
English, making seemingly ordinary pro- reaction time.
nunciation mistakes that end up being
ridiculously embarrassing because of 2 seconds of nothing
sexual innuendos.
YOUNG MAN: Pfff, no it doesn’t.
NARRATOR: Yes it does.
SFX - Melancholic music
2 seconds of nothing
NARRATOR (Being melodramatic)
While giving a speech at an International YOUNG MAN: No way.
Business Summit, François wanted to NARRATOR: Yes way.
Alors qu’elle donnait une conférence à
un sommet d’affaires international, Julie 2 seconds of nothing
a voulu soulever les passions.
YOUNG MAN: Does not.
SFX - AUDITORIUM ROOMTONE NARRATOR: Does too.
FRANÇOIS (In a mangled English) 2 seconds of nothing

WE NEED TO FUCK US. IF WE WANT TO
WIN THIS YEAR, WE NEED TO FUCK US. YOUNG MAN: Nah!
NARRATOR NARRATOR: Yes, marijuana slows

Oh François. It’s focus, not fuck us. down reaction time. A message from la
Société de l’assurance automobile du
Focus, just like the distinct insistence Québec.
with which 684 attendees are staring at
you right now. 2 seconds of nothing
NARRATOR YOUNG MAN: Hmm, no.

Save face. Perfect your English at Berlitz.
1-855-865-0548
01 02
30 SECONDS OR LESS - SINGLE PSA/CHARITY (ANY LENGTH) - SINGLE

01 Focus 02 Reaction Time
Rethink, Toronto/Montreal/Vancouver lg2, Quebec, QC
w: rethinkcanada.com Creative Director:
Client: Luc Du Sault
Berlitz Canada Writer:
Creative Directors: Nicolas Boisvert
Nicolas Quintal, Ian Grais, Chris Staples Agency Planners:
Art Director: Catherine Darius, Alexandra Laverdière,
Maxime Sauté Mireille Côté
Writer: Account Director:
Xavier Blais Alexandra Laverdière
Broadcast Producer: Sound Designer:
Marie-Noëlle Rosso Denis-Éric Pedneault
Strategist: Account Manager:
Pascal Routhier Roxanne Dupont
— —
To promote Berlitz (a language school) the The Société de l’assurance automobile du
spot presents a francophone who tries to Québec wanted to raise awareness on cannabis’
speak English, making seemingly ordinary effects on one’s ability to drive. The message
pronunciation mistakes that end up being was clear, simple and indisputable: “Cannabis
ridiculously embarrassing because of extends reaction time.”
sexual innuendos.
A P P L I E D A R T S • W I N T E R 2 0 1 8 • PAG E 1 74
BROADCAST
OVER 30 SECONDS - SINGLE (03a),

CRAFT - ANIMATION - SINGLE (03a),
CRAFT - COPYWRITING - TV - SINGLE (03a),
CRAFT - COPYWRITING - RADIO - SINGLE (03b)
03 Sport Chek - Do Not Attempt
Anomaly, Toronto, ON
t: 647-547-3440
e: tor_awards@anomaly.com
w: anomaly.com
Dave Douglass, Pete Breton
Writer:
Matthew Donne
Art Director:
Richard Brown
CEO:
Franke Rodriguez
Managing Directors:
Candace Borland, Linda Carlson, Jennifer Sofio Hall
Account Supervisor:
Kait Babin
—
In order to cut through the clutter of feel-good
Olympics campaigns from other marketers, Sport
0 3a
Chek partnered with the Emmy Award-winning VFX
House Elastic to highlight the dangers of the Winter
Olympics. On the eve of the 2018 Olympic Winter
Games, Sport Chek disrupted the broadcast of the
SPORT CHEK - reaching speeds in excess of 150 km/h Opening Ceremony with a ‘Disclaimer’ that delved
DO NOT ATTEMPT inside a glorified tin can; into the high-risks athletes face during competition.
jockeying for position in a sea of blades

VO: WARNING so sharp they’d make a skilled barber’s
DO NOT ATTEMPT hands tremble;
CAT
LE
Activities associated with the Olympic
MULTIP
sticking landings half-dizzy from the

EG
Winter Games can at times involve

ORY
height of a five-storey building;

substantial risk.
dealing with a margin of error of approx- W
It is the responsibility of each person INNER
imately zero;
involved to engage only in those activ-
OVER 30 SECONDS
ities for which he or she has the skills, all while holding the hopes of a nation - SINGLE -
qualifications, and preparation. on your sore, shivering, courageous CRAFT - ANIMATION
shoulders. - SINGLE -
Dangers peculiar to such activities CRAFT - COPYWRITING
include, but are not limited to: Risk. Accepted. TELEVISION
- SINGLE -
flying 200 metres in inclement weather Sport Chek, Proud Partner of the CRAFT - COPYWRITING
RADIO
on two skinny pieces of fibreglass; Canadian Olympic Team - SINGLE -
03b
BROADCAST

OVER 30 SECONDS - SERIES (All),
CRAFT - MUSIC - SINGLE (All)
01 Conductor
t: 709-739-8400
Creative Director:
Tom Murphy
Creative Group Head:
Kevan Kalyan
Copywriters:
Jordan Finlayson, Randy Diplock
Strategic Planner:
Noel O’Dea
Production Manager:
Cindy Wadden
Account Director:
Ernie Brake
Winning Entry: dropbox.com/s/9ybea12x5ibkn4i/
NLT2481-01-17-60T_Conductor.mp4?dl=0
—
Seen through the eyes of a child, Conductor is a
story of unexpected journeys. Along the way, we
see, hear, and experience sound coming to life in
NL–a natural amphitheater with unlimited seating,
and a myriad of performers and instruments.
Sounds are felt just as much as they are heard,
which is why we “set the hook” with a series of
unbranded, 5-second spots, before revealing our
complete commercial in the next ad cluster.
Around here, surround sound comes from, well, the

surroundings. In Conductor, we captured these live
sounds up close and personal. From the spray of a
whale, the rhythmic thump of a single engine boat,
01 and the melodic ruffle of clean sheets on a clothes-
line. We took these sounds, and more, and wove
them together with an original score to create a
CAT cohesive, not to mention memorable, experience
LE for the ears and eyes of our audience.
MULTIP
EG
ORY
W
INNER
OVER 30 SECONDS
- SINGLE -
OVER 30 SECONDS
- SERIES -
CRAFT - MUSIC
- SINGLE -
BROADCAST

02 Wandering Eyes - Volkswagen Tiguan
Soft Citizen, Toronto, ON
t: 416-366-9849
e: jaclyn@softcitizen.com
w: softcitizen.com
Executive Producers:
Eva Preger, Link York, Rob Burns
Director:
Aircastle
Line Producer:
Ed Callaghan
Director Of Photography:
John Houtman
Ad Agency:
DDB Canada
Paul Wallace
Winning Entry: vimeo.com/230505735
—
A driver, smitten by the new Volkswagen Tiguan
can’t help but take notice of the redesigned SUV
02
everytime it surreptitiously crosses his path.
CAT
LE
MULTIP
EG
ORY
W
INNER
OVER 30 SECONDS
- SINGLE -
CRAFT - DIRECTION
- SINGLE -
BROADCAST
OVER 30 SECONDS - SINGLE (01),

OVER 30 SECONDS - SERIES (01, 02)
01 Beautiful Possibilities: Bottled
Client:
IKEA
Creative Directors:
Aaron Starkman, Chris Staples, Ian Grais
Art Directors:
Jake Bundock, Paul Riss
Writers:
Aaron Starkman, David Daga
Strategists:
Stacy Ross, Sean McDonald
Broadcast Producer:
Anne Marie Martignago
—
IKEA’s holiday campaign tells a relatable story about
01 what the holidays are like for real people. The hero
spot, “Bottled,” is the story of a boy who bottles up all
the amazing things his struggling single mom does
CAT for him throughout the year to show that beautiful
LE possibilities don’t just exist during the holidays, but
MULTIP
EG
happen year round.

ORY
W
INNER
OVER 30 SECONDS
- SINGLE -
OVER 30 SECONDS
- SERIES -
BROADCAST
OVER 30 SECONDS - SINGLE (02),

OVER 30 SECONDS - SERIES (01, 02)
02 Beautiful Possibilities: Wonderful World
Client:
IKEA
Creative Directors:
Aaron Starkman, Mike Dubrick, Joel Holtby,
Production Companies:
Revolver, Spy Films
Art Directors:
Joel Holtby, Jake Bundock, Paul Riss
Writers:
Mike Dubrick, David Daga, Aaron Starkman
Broadcast Producers:
Anne Marie Martignago, Cat Dumas
02
ikea_wonderfulworld
—
IKEA believes in the beauty of possibilities,
CAT that everyone can have the beautiful kind of
LE world they want, and in turn, the beautiful
MULTIP
EG
kind of home they want.

ORY
W
INNER
OVER 30 SECONDS
- SINGLE -
OVER 30 SECONDS
- SERIES -
BROADCAST
01a
01b
01c
BROADCAST
OVER 30 SECONDS - SINGLE (01a),

OVER 30 SECONDS - SERIES (All)
01 We All Play for Canada - First Skate
Leo Burnett, Toronto, ON
Judy John
Group Creative Directors:
Anthony Atkinson, Paul Giannetta
Art Directors:
Logan Gabel, Lucyed Hernandez
Copywriters:
Graeme Campbell, Jason Soy
SVP, Executive Producer:
Franca Piacente
Gail Dhruv
—
Premier National Olympic Partner Canadian Tire
wanted to bring together the team spirit of all
Canadians. “First Skate” tells the touching story of
a father fashioning a sledge for his paraplegic son.
As part of its Olympic efforts, Canadian Tire

released an advertising campaign that focuses
on the importance of community support behind
Canadian athletes. ‘Tap’ features Canadian
Tire partners Wayne Gretzky, Jonathan Toews,
Connor McDavid, Hayley Wickenheiser and Rick
Hansen. Inspired by the simple tapping of a stick,
the traditional sign of respect, admiration and
sportsmanship shown by hockey players, the ad
demonstrates the support of all Canadians com-
ing together for one common purpose.
CRAFT - EDITING - SINGLE

02 Tap
Rooster Post Production, Toronto, ON
t: 416-977-2401
w: rooster.ca
Client:
Canadian Tire
Editor:
Marc Langley
Ad Agency:
Leo Burnett
Copywriter:
Graeme Campbell
Art Director:
Logan Gabel
Judy John
02 —
Marc Langley taps into national pride for Canadian
Tire, Leo Burnett and the 2018 Winter Olympics.
CAT
LE
MULTIP
EG
ORY
W
INNER
OVER 30 SECONDS
- SINGLE -
OVER 30 SECONDS
- SERIES -
01
BROADCAST
01a
01b
01c
BROADCAST
0 2 /03
30 SECONDS OR LESS - SERIES (All) OVER 30 SECONDS - SINGLE CRAFT - CINEMATOGRAPHY - SINGLE
01 Real People. Real Slogans. 02 Be Olympic 03 Be Olympic
Rethink, Toronto/Montreal/Vancouver Revolver Films, Toronto, ON Sid Lee, Toronto, ON
w: rethinkcanada.com t: 416-901-8400 Executive Creative Directors:
Clients: w: revolverfilms.com Tom Koukodimos, Jeffrey Da Silva
Scotts Canada / Weed B Gon Director: Art Director:
Creative Directors: Ian Pons Jewell Jordan Gladman
Aaron Starkman, Ian Grais, Chris Staples Executive Producers: Copywriters:
Art Director: Luc Frappier, Richard Cureton Mike Johnson, Gaby Makarewicz
Zachary Bautista Client: Designers:
Writer: Canadian Olympic Committee Alex Boland, Dominic Liu
Andrew Chhour Ad Agency: Account Director:
Strategist: Sid Lee Jacob Barnes
Sean McDonald Director Of Photography: Account Supervisor:
Associate Creative Directors: Mauro Chiarello Sophie Carle
Jordan Cohen, Kevin Filliter Production Designer: —
— Jay Pooley The Be Olympic campaign focuses on Canadian
Scotts needed help coming up with a new — athletes’ character over their physical ability. The
slogan. So we asked real people who’ve used Heavenly Renaissance tableaus meet blood, story of this film demonstrates that Olympic values
Weed B Gon to tell us what they thought — and sweat, and grit, as director Ian Pons Jewell are Canadian values and glorifies the athletes of
turned their endorsements into taglines. challenges us to Be Olympic. Team Canada as the champions of virtue.
BROADCAST
01
02
BROADCAST
03
30 SECONDS OR LESS - SERIES OVER 30 SECONDS - SINGLE OVER 30 SECONDS - SINGLE

01 No Frills - Hauler 02 Motherhood 03 Above All Odds
Revolver Films, Toronto, ON Zulu Alpha Kilo, Toronto, ON FCB Canada, Toronto, ON
t: 416-901-8400 t: 416-777-9858 t: 416-483-3600
w: revolverfilms.com Client: w: fcbtoronto.com
Director: Uber Canada Chief Creative Officers:
Scott Cudmore Creative Director: Nancy Crimi-Lamanna, Jeff Hilts
Executive Producers: Zak Mroueh Creative Directors:
Luc Frappier, Richard Cureton Art Director: Jeremiah McNama, Andrew MacPhee
Ad Agency: Charline Fauche-Simon Art Director:
john st. Writer: Michael Morelli
Client: Angeline Parsons Copywriter:
No Frills Director: Marty Hoefkes
Director Of Photography: Adam Azimov VP, Managing Director - Account:
Pablo Berron Production House: Joumana Oweida
Editor: Skin and Bones Film Company Account Executive:
Danica Pardo — Jennifer Gaidola Sobral
— We travel through a mother’s most precious —
Empowering us all to HAUL, Scott Cudmore memories as she says goodbye to her son, Invictus athletes have overcome their severe
delivers an epic campaign for No Frills. who she’s lost to impaired driving. physical and mental injuries and progressed from
Yellow is the new black. diagnosis, through rehabilitation, to training,
before competing as world-class athletes at the
Invictus Games. This led to our creative idea:
Above all odds. In film, our primary story featured
Tom Martineau who served Canada for 18 years.
Tom’s actual medical report served as our voice
over to illustrate the incredible progress he had
made to get to the Invictus Games.
BROADCAST
01a
01b
BROADCAST
02
CRAFT - CINEMATOGRAPHY - SINGLE (01a), CRAFT - ANIMATION - SINGLE

CAT CRAFT - CINEMATOGRAPHY - SERIES (All) 02 Ontario Power Generation –
LE 01 Challenge Accepted Stay Clear, Stay Safe - A Cautionary Tale
MULTIP
EG
GREY Canada, Toronto, ON The Hive Inc., Toronto, ON

ORY
Chief Creative Officer: t: 416-923-3800

Helen Pak e: screet@thehiveinc.com
W Executive Creative Directors: w: thehiveinc.com
INNER Joel Arbez, James Ansley Chief Creative Officer:
Art Director: Simon Creet
CRAFT Eric Carriere Associate Creative Director:
CINEMATOGRAPHY
Copywriter: Meghan Kraemer
- SINGLE -
Rena Green Writer:
CRAFT Client Service Director: Meghan Kraemer, Steven Preisman
CINEMATOGRAPHY
Nicole Lupke Account Director:
- SERIES -
01 Account Supervisor: Cameron Stark
Harjot Tatla Account Manager:
— Alexandra Giffin
This campaign set out to prove that no matter Project Manager:
what life throws at people with intellectual Brandon Vignali
disability, the experience athletes gain by —
participating in Special Olympics gives them the OPG wanted to create awareness around the
confidence to take on any challenge. Whether dangers of fishing and swimming too close to
that is getting their first job, asking someone to hydro dams. Working with acclaimed animation
the school prom, or speaking before a crowd - studio Aardman, we cast a new spin on the
no challenge is too great. classic fish tale. In “Stay Clear, Stay Safe,” a
fable told in campfire song, Dammy the beaver
spends his entire life in search of “the big one.”
It seems he’ll never make his catch–until one
momentous day when his luck truly takes a turn.
BROADCAST
01a
01b
BROADCAST
01c
CRAFT - ANIMATION - SINGLE (01a),

CAT CRAFT - ANIMATION - SERIES (All),
LE 01 Too Much Fun
MULTIP
EG
ORY
Client:
W Playland
Leia Rogers, Ian Grais, Chris Staples
CRAFT - ANIMATION Art Directors:
- SINGLE -
Jake Hope, Hans Thiessen, Melissa Haebe
CRAFT - ANIMATION Writer:
- SERIES - Sean O’Connor
Strategist:
Darren Yada
Producer:
Robyn Farnham
—
Let your social media out — this year’s campaign
turned all the bodily fluids associated with fear,
fun, and nausea into fun-loving, positive emojis.
BROADCAST
01a
01b
01c
BROADCAST
02
CRAFT - ANIMATION - SERIES (All) CRAFT - ANIMATION - SINGLE

01 Toronto Public Health - Condom T.O. 02 Humanity Inclusion - Lifeline
The&Partnership, Toronto, ON SHED, Montreal, QC
t: 647-252-6801 t: 514-849-1555
w: theandpartnership-na.com e: info@shedmtl.com
Client: w: shedmtl.com
Toronto Public Health Client:
Executive Creative Director: Humanity & Inclusion (Handicap International)
The&Partnership Agency Producer:
Art Director: Cossette
The&Partnership Production Company:
Writer: Morrison
The&Partnership Director:
Strategy: Olivier Staub
The&Partnership Animator:
Producer: Hubert Lapointe
The&Partnership, Raj Dhillon, Allie Pattillo Editing Company:
— Normal Studio
Toronto Public Health has free condoms for teens— —
just show up and help yourself to the condom SHED is an animation studio providing bespoke
bowl. But very few Toronto teens knew about it. motion design and visual effects services to a
We needed a fresh approach to make them aware. worldwide clientele of ad agencies and brands.
The solution was “Life in The Bowl,” an animated While working on Humanity & Inclusion, Morisson
mini-sitcom that imagines the secret lives of free approached us to create hand-drawn animation on
condoms, waiting to be picked up. But how would top of human canvas, shot on location in refugee
the condoms pass the time? What would they be camps on the border between Thailand and Myan-
up to while they waited? mar. We mixed both mediums to create this ode to
the resilience of vulnerable populations touched by
poverty, armed conflict, and natural disasters.
INDEX
Canadian Olympic Committee 183 Eisentraut, Cory 91, 127 Hilts, Jeff 54, 106, 107, 185
2018 Canadian Tire 181
Cantelon, Dan 94
Elkouby, Ari 91, 127
Elliot, Gabrielle 137
Hirsch, Chris 85, 102, 103, 118
Hive Inc., The 187
Advertising Carex Mini-Storage 71

Carle, Sophie 183
Émergence Foundation 109
Engleman, Jill 61, 104
Ho, Joyce 75, 94
Hoefkes, Marty 54, 106, 107, 185
Annual Carlson, Linda 175

Caron, Alexandre 109
Carriere, Eric 187
Eresman, John 63, 131, 156
Esfandiyari, Arjang 59, 111
Holtby, Joel 101, 136, 137, 179
Hope, Jake 80, 189
Horne, Kelsey 65, 75, 94, 135
Index Cesar, Jonathon 75, 131
Cesareo, Mario 52, 158
F
Faclier, Jacqui 59, 111
Houtman, John 177
Hubbard, Matt 92
Charland, Mélissa 126 Farnham, Robyn 97, 189 Hudson, Terry 143, 154, 155
Chelvanathan, Anthony 116, 171 Farrington, Aniesha 148, 149 Hughes, Megan 173
Chénier, Anne-Claude 77, 120 Fauche-Simon, Charline 112, 185 Humanity & Inclusion
A Chhour, Andrew 183 FCB Canada 54, 106, 107, 185 (Handicap International) 191
Abrams, Rachel 139, 159 Chiarello, Mauro 183 FCB/SIX 64, 157 Hung, Carol 128
Agbuya, Gerardo 47, 147 Choi, London 123 Federico, Dave 91, 127 Huseinovic, Adnan 126
Ahern, Andrew 65 Chong, William 74 Feferman, Noah 150, 158 Hussey, Clinton 80
Aircastle 177 Cinéma du Parc 119 Fenn, Noel 125, 153
Ajwani, Sumit 85 Clancy, Simon 89 Ferguson, Craig 50, 74, 132 I
Anomaly 131, 142, 175 Clark, Erin 91 Fernandes, Amy 144, 146, 161 Iannetta, Isabella 166
Ansley, James 48, 49, 82, 99, 114, Cohen, Jordan 136, 183 FGL Sports Ltée (Sports Experts) Ierullo, Steve 128
173, 187 Consonant Skincare 141 133, 145 Ignazi, Peter 52, 79, 89, 139, 148, 149,
Arbez, Joel 48, 49, 82, 99, 114, 173, 187 Conway, Patrick 127 Filliter, Kevin 136, 183 150, 151, 152, 158, 159, 165, 166, 173
Arden, Greg 115 Coppens, Carle 65 Findlay, Krista 103 IKEA 138, 178, 179
Arnott, Mike 128, 134 Corradetti, Kelsey-Lynn 135 Finlayson, Jordan 143, 154, 176
Arteta, Perle 173 Cossette 52, 77, 89, 120, 139, 148, Flaman, Rebecca 92 J
Artinian, Narine 101 149, 150, 151, 152, 158, 159, 165, Florin, Bruno 95 Jacobs, Ricky 107
Assaulted Women’s Helpline 97 166, 173, 191 Floyd, Colleen 89 Jacques, Barbara 77
Association of Registered Graphic Côté, Mireille 96, 174 Forbes, Rob 97 Jean-Baptiste, Richard 135
Designers (RGD) 112 Cotton, Jennifer 91 Forcier, Stéfanie 69 John, Judy 116, 171, 181
Atkinson, Anthony 181 Couderc, François 83 Forseberg, Kohl 134 Johnson, Mike 183
Audet, Cedric 128 Creet, Simon 187 Francis, Jim 111 john st. 47, 50, 128, 134, 135, 141, 147,
Azimov, Adam 185 Crimi-Lamanna, Nancy 54, 106, 107, Frappier, Luc 183, 185 171, 185
185 Fraracci, Matt 113 Johnston, Taylor 102
B Cristiano, Lee 89 Friesen, Caroline 47, 135, 147 Johnstone, Liam 118
Babin, Kait 175 Cudmore, Scott 185 Frohmann, Drew 110 Jones, Patty 124, 161
Baillie, Geoff 137 Culic, Dan 132 Joudrey, Steph 50, 132
Barnes, Jacob 183 Cureton, Richard 183, 185 G Juniper Park\TBWA Communications
Bath, Vic 132 Curtis, Jack 112 Gabel, Logan 181 51, 101, 105, 122
Bautista, Zachary 183 Gagnon, Camille 83 Jurisic, Stephen 47, 128, 147
Bazarkaya, Toygar 87 D Gagnon, Charles 119 Jutras, Alexandre 77
BBDO 92, 123 Dacyshyn, Chris 56, 72, 146, 163 Gaidola Sobral, Jennifer 185 J. Walter Thompson Canada 91, 127
Beamer, Mike 91 Daga, David 178, 179 Galloway, Kyla 137
Beauvais, Martin 114 Daley, Allison 111 Gamble, Dustin 169 K
Beharry, Genevieve 48, 49, 82, 99 Dalling, Ella 125 Garde-Manger Pour Tous 120 Kallonen, Ela 50, 171
Bensimon Byrne 61, 104, 164 Damiani, Adam 101 Gayowski, Ali 148, 149 Kalyan, Kevan 111, 143, 154, 155, 169, 176
Bergeron, Guillaume 69 Danowski, Pam 144, 161 Gerguric, Tara 103 Karabegovic, Elma 54, 106
Berlitz Canada 95, 174 Darius, Catherine 67, 96, 174 Giannetta, Paul 181 Kates, Michael 51, 101, 122
Bernard, Vincent 96 Dark, Jennifer 162 Giffin, Alexandra 187 Kathriarachchi, Athula 116
Bernardi, Andrew 64, 89, 157 Das, Rajdeepak 116 Giguère, Olivier 126 Kawalecki, Erin 108
Berron, Pablo 185 Da Silva, Jeffrey 135, 183 Gilbert, Marc-André 145 Kenny, Tom 92, 123
Bertagni, Diego 108 Dauphinais-Borque, Beatrice 115, 162 Gladman, Jordan 183 Kent, Maggie 52, 152
Bhangu, Kerry 75, 80 Davis, Hubert 164 Godin, Patrick 112 Kerr, Jason 142
Binnington, Cas 135 DDB Canada 50, 59, 74, 84, 87, 111, Goss, Maria 127 Kieltyka, Greg 109
Birze, Vanessa 173 124, 125, 126, 132, 161, 177 Goulet-Lafond, Olivier 71 Kikongi, Jean–Claude M. 114
Blais, Derek 123 Deluz, Skye 138 Grais, Ian 63, 71, 75, 80, 95, 97, 101, Kilgour, Caroline 123
Blais, Xavier 71, 95, 109, 133, 145, 174 DentsuBos 120 109, 121, 131, 132, 133, 136, 137, 138, Kim, Nellie 85, 102, 103, 118
Bodogh, Beatrice 92 DeParolis, Aimee 47, 50, 135, 147, 171 145, 156, 167, 169, 173, 174, 178, 179, Klapowich, Meredith 61, 104, 164
Bofill, Mooren 128, 134, 141 De Silva, Ranil 116 183, 189 Knight, Darrel 114
Boisvert, Nicolas 174 Desjean, Alain 65 Green, Rena 187 Kostovski, Raluca 115
Boivin, David 67 Dhillon, Raj 191 Greenpeace 101 Koukodimos, Tom 183
Boland, Alex 135, 183 Dhruv, Gail 181 Greenspoon, Amy 162 Kraemer, Meghan 187
Bonnici, Joseph 61, 104, 164 Di Gangi, Elijah 158 Greer, Jake 118 Kraft Peanut Butter 137
Booth, Ryan 112, 141 Di Lauro, Massimiliano 119 Gregg, Leah 131, 136 Krivy, Marketa 108
Borland, Candace 131, 142, 175 Dingle, Spencer 79, 166 Grégoire, Sylvain 83 Kukec, Ryan 135, 141
Brake, Ernie 111, 169, 176 Diplock, Randy 143, 154, 176 GREY Canada 48, 49, 82, 99, 114, Kulkarni, Manali 141
Brassard, Philippe 79, 120 Dolan, Daniel 139, 152, 159 173, 187
Breton, Pete 131, 142, 175 Donne, Matthew 131, 175 Groll, Aviva 56, 72, 144, 146, 161, 163 L
Brewer, Adam 51, 122 Douglass, Dave 131, 142, 175 Grouvel, Lorraine 120 Labre, Dre 136
Bronstorph, Alexis 65, 75, 94, 135 Doyle, Siobhan 173 Guilbault, Marc 69 Lachapelle, René 77
Brown, Richard 131, 175 Drive Skate Shop, The 132 Guy, Jonathan 150, 173 Lafaye, Sebastien 128
Brown, Tyler 65 Drucker, Scott 54, 106 Lafrenière, Jean 67
Bruveris, Gints 61, 104, 164 Dubois, Guillaume 145 H Laing, David 64, 157
Budd, Josh 91, 127 Dubrick, Mike 101, 136, 137, 167, 179 Haebe, Melissa 80, 189 Lane, Jacqueline 128
Bundock, Jake 137, 139, 159, 178, 179 Dumas, Cat 136, 179 Hamer, Jordan 79, 166 Lang, Graham 51, 101, 105, 122
Burns, Rob 177 Dunlop, Ian 141 Hansa, John 87 Langley, Marc 181
Byzewski, Michael 127 Dupéré, Luc 69 Hansen, Cory 48, 49, 82, 99 Lapointe, Hubert 191
Dupont, Alexe 133 Harbec, Vanessa 65 Lapre, Julie 92
C Dupont, Roxanne 174 Harley-Davidson Canada 125, 153 Larigakis, John 87, 124, 161
Caie, Andrew 125, 153 Dupuis, Martin 119 Harris, Tyler 165 Larouche, Christine 67
Calderoni, Michelle 135 Du Sault, Luc 67, 83, 96, 174 Hayman, Shawna 89 Lasch, Sarah 85
Callaghan, Ed 177 Heber, Vanessa 108 Laverdière, Alexandra 96, 174
Campbell, Cher 47, 50, 147, 171 E Hernandez, Lucyed 181 Lawrence, Ryan 48, 49, 82, 99
Campbell, Elias 54, 106 Eckersley, Rica 91, 162 Hicks, Kyle 169 Lawson, Jordon 75, 121, 132, 167, 169
Campbell, Graeme 181 Eckler, Daniel 131 Hill, Lindsay 150 Leck, Monika 141
INDEX
Lee, Dean 84, 87, 124, 125, 161 Mulhern, Mark 87 Rennie, Sheldon 63, 156 T
Lee, Grace 110 Mullin, Krystle 64, 157 Responsible Gambling Council 102 TA2 SOUND & MUSIC 110
Lee, Michelle 146 Muratovic, Tina 171 Rethink 63, 71, 75, 80, 95, 97, 101, Tang, Hang Tan 120
Legrand, Anne 105 Murphy, Tom 111, 143, 154, 155, 169, 176 109, 121, 131, 132, 133, 136, 137, 138, Target 111, 143, 154, 155, 169, 176
Leo Burnett 116, 171, 181 Murray, Brian 56, 72, 144, 146, 161, 163 145, 156, 167, 169, 173, 174, 178, 179, Tartier, Arnaud 126
Les Évadés 119 Mwewa, Anton 158 183, 189 Tatla, Harjot 187
Les Producteurs de lait du Québec 69 Revolver Films 179, 183, 185 TAXI 65, 75, 94
Levenberg, Melissa 139, 151, 159, 173 N Richer, Maxime 65 Tchir, Kane 125
Levesque, Marc 94 Nanayakkara, Lalindra 116 Rioux, Laura 137 Tennant, Aliz 138
lg2 67, 69, 83, 85, 96, 102, 103, 118, 174 Narrative 61, 104, 164 Riske, Ariel 102 Théroux, David 79, 120
Lim, Jake 63, 101, 131, 156 Newport, Hannah 138 Riss, Paul 178, 179 Thiessen, Hans 63, 80, 131, 156, 189
Lin, George 108 Ng, Andy 158 Rivest, Marc 67 Thompson, Dena 52, 150, 151, 152, 165
Linardatos, Andy 101, 105 Ngo, Anne 114 Rivest, Sebastien 120 Thur, Adam 91, 162
Little, Paul 134, 135 Ni, Rita 105 Rochon, Patrick 69 Thursby, Stuart 64, 157
Little, Tracy 107 No Frills 185 Rodriguez, Franke 131, 142, 175 Tierney, Morgan 75, 97, 121, 131, 173
Liu, Dominic 183 Normal Studio 191 Roe, Shauna 171 Tognacci, Thomas 155, 169
Lorazo, Julie 126 Rogers, Leia 80, 97, 131, 189 Topol, Allan 50, 59, 74, 111, 132
Luck, Samara 114 O Rogers, Simon 148, 149, 173 Toronto Public Health 191
Lupke, Nicole 187 Obayami, Emmanuel 59, 111 Romaniuk, Michael 112 Tougas, Sébastien 126
Ly, James 64, 157 O’Connor, Megan 121, 167 Rooster Post Production 181 Tremblay, Mathieu 83
O’Connor, Sean 63, 80, 156, 189 Rosenberg, Maddie 50, 171 Tribal Worldwide, a division of DDB 108
M O’Dea, Noel 143, 154, 155, 169, 176 Ross, Stacy 178 Trimper, Lexi 65
MacDonald, Heather 161 O’Donnell, Andrea 173 Rossetto, Denise 92, 123 Trinitis, Oskars 48, 49, 82, 99
MacInnis, Pete 65, 75 Ogilvy 56, 65, 72, 144, 146, 161, 163 Rosso, Marie-Noëlle 109, 145, 174 Tsatouhas, Dean 124, 125
MacKellar, Ian 56, 72, 163 Oke, Allen 125, 153 Rounis, Pamela 131, 167 Tucker, Angus 47, 50, 128, 134, 135, 141,
Mackenzie, Ian 64, 157 Olson, Carla 121, 173 Roussy, Marie-Eve 83 147, 171
Mackie, Todd 92, 123 O’Neill, Leigh 97, 121 Routhier, Pascal 71, 95, 109, 133, Turner, Dani 115
Maclean, Marlee 108 On Method 61, 104, 164 145, 174 Tutssel, Mark 116
MacLeod, Lia 136 Open. A Creative Company 114 Rutherford, Sarah 52, 158 Tzadok, Elad 97
MacPhee, Andrew 185 Orange Apple, The 84
Makarewicz, Gaby 183 Osholowu, Dosh 75, 121 S U
Mallery, Coleman 125 OssRech, Max 144, 161 Sabatine, Cody 54, 106 Uber Canada 185
Manahan, Alex 108 Ouellette, Carly 61, 104 Sales, Crystal 56, 72, 163 Uchison, Sara 87
Manale, Mary 59, 74, 111 Outschoorn, Alicia 110, 115 Sanchez, Vic 87 UNION 91, 110, 115, 162
Manchu WOK 85, 118 Ovsey, Mark 108 Sato, Kevin 141 Untitled Films 164
Mandel, Anabella 165 Oweida, Joumana 185 Sauté, Maxime 71, 95, 109, 133, 145, 174
Mandell, Jon 84 Sauvé, François 69 V
Mann, Hylton 101, 105 P Sava, Sann 74, 126 Vahn, Tina 89
Marcovitch, Jamie 142 Pacey, Jacob 153 Schonberger, Mike 92 Vardy, Laura 137
Margonza, Noel 91 Pak, Helen 48, 49, 82, 99, 114, 173, 187 Scott, Alex 110, 115 Vernuccio, Joseph 54, 106
Mark, Kelly 91, 115 Pandza, Marko 142 Scott, Mark 128, 141 Verwey, Dylan 141
Markle, Julie 56, 72, 146, 163 Pankowska, Dorota 134 Scotts Canada / Weed B Gon 183 Vignali, Brandon 187
Martignago, Anne Marie 178, 179 Pardo, Danica 185 Seewald, Molly 50, 125, 132 Vingoe, Sarah 121, 132
Martin, Lance 91, 110, 115, 162 Parenteau, Jean-René 109, 145 Selbie, Olivia 107 Vitale, Brianna 115
Martin, Nicola 127 Parsons, Angeline 112, 185 Serra, Laura 61, 104, 164
Martiniello, Barbato 85 The&Partnership 191 Shapiro, Neil 84, 124, 161 W
Martins, Stepanie 123 Pattillo, Allie 191 Shaw, Jordan 91 Wadden, Cindy 176
Mascagni, Liana 169 Payette, Karine 69 SHED 67, 191 Walker, Chris 65, 75
Mathers, Natalie 148, 149 Pedneault, Denis-Éric 174 Sid Lee 135, 183 Walker-Wells, Neil 51, 122
Mathieu, Christian 114 Pelletier, Jérémie 83 Silva, Paul 105 Wallace, Paul 59, 74, 111, 126, 177
MattCo. 113 Peng, Tina 50, 132 Simons, Kyle 138 Walton, Emily 87
May, Max 167 Percy, Robbie 47, 135, 147 Singh, Ravi 107 Wark, Kara 141
May, Rebecca 137 Perera, Arosha 116 Skin and Bones Film Company 185 Wathan, Emma 102
Mazzola, Fred 125 Perez, Michelle 151 Snajdr, Yan 101 Watson, Gary 141
McDonald, Sean 137, 178, 183 Persico, Steve 171 Sofio Hall, Jennifer 175 Wave Productions 173
McDonald’s Restaurants of Canada Perumal, Selonica 116 Soft Citizen 177 Way, Corey 79, 166
Ltd. 77 Petridis, Lianna 51, 122 Soroka, Mary 171 We Are Unlimited 87
McFaul, Fiona 84 Phuong, Lisa 125 Soy, Jason 181 Webden, Chris 74
McIntosh, Craig 52, 79, 150, 151, Piacente, Franca 181 Spelliscy, Ryan 91 Weisbarth, Samantha 144, 161
152, 165 Piasecki, Tricia 89 Spraetz, Alex 111 Weiss, Ari 87, 108
McKay, Molly 51, 122 Pilling, Michelle 61, 104, 164 Spy Films 179 Welsh, Kimberly 115, 162
McKissick, Tyler 114 Playland 75, 80, 121, 173, 189 Staples, Chris 63, 75, 80, 95, 97, 101, WestJet 136
McMullen, Brendan 153 Pons Jewell, Ian 183 109, 121, 131, 132, 133, 136, 137, 138, Westworth, Ian 114
McNama, Jeremiah 185 Pooley, Jay 183 145, 156, 167, 169, 173, 174, 178, 179, Whitty, Luke 85, 118
McNeill, Ryan 48, 49, 82, 99, 114 Poon, Gordon 91 183, 189 Wilks, Jesse 47, 147
Mednick, Tom 101 Porter, James 162 Stark, Cameron 187 Williamson, Devon 64, 157
Merchez, Maxime 65 Portnoy, Oleg 52, 79 Starkman, Aaron 101, 136, 137, 138, 167, Winsor, Kyle 141
Meshram, Pavan 50, 132 Potts, Ngaio 171 178, 179, 183 Wood, Bob 143, 154
Metcalfe, Erica 139, 148, 149, 159, 173 Poulin, David 83 States United Against Gun Violence Woods, Matt 84
Michaud, Patrick 77 Poulsen, Justin 114, 166 63, 156
Mikaeo, Ming 141 Preger, Eva 177 Staub, Olivier 96, 191 Y
Moin, Gira 54, 106 Preisman, Steven 187 Steffan, Christian 74 Yada, Darren 80, 136, 167, 189
Montemarano, Tania 92 Stein, Laura 135 Yokoyama, Sharon 166
Moore, Guy 79, 89 Q Stolk-Ramaker, Patrick 64, 157 York, Link 177
Morelli, Michael 54, 106, 107, 185 Quenneville, Fanny 120 StopCyberBullying.org 103 YWCA 167
Moreno, Carlos 52, 79, 89, 139, 148, Quintal, Nicolas 71, 95, 109, 133, 145, 174 Stories Worth Sharing 91
149, 150, 151, 152, 158, 159, 165, Quiroz, Emma 85 Stranges, Andrea 92 Z
166, 173 Strasser, Dan 61, 104, 164 Zeeman, Ron 136
Morgan, Julian 137 R Strickland, Ryan 143, 154, 155, 169 Zentil, Jaimes 52, 79, 150, 151, 152, 165
Morris, Ed 89 Radovanovich, Sara 173 Stulberg, David 162 Zulu Alpha Kilo 112, 125, 141, 153, 185
Morris, Joe 144, 161 RainCity Housing 169 Sturgess, Victoria 108 Zwer, Lorrie 59, 111
Morrison 191 Ramsay, Samantha 146 Sullivan, Dave 169
Mroueh, Zak 112, 125, 141, 153, 185 Raspor, Krista 136 Sy, Matthew 161
Mueller, David 61, 104, 164 Rayes, Karen 162 Syberg-Olsen, Matt 91

Back page
ARTIST’S STATEMENT
Junior art director and past Student Awards Winner
Marvin Veloso discusses his artistic style
M
y illustrations [take] a lot of inspiration from graffiti street- At first, I thought this project would be challenging, as I didn’t
style. I look at a lot of older cartoons and it’s very playful. I always know anything about motorcycle culture. However, after realiz-
try to do something energetic. I think with some of my pieces, I ing there weren’t any motorcycle ads that connected with me, I
always try to reference something within pop culture, whether took it as an opportunity to approach this as a blank canvas.
it’s Madonna or Andy Warhol. I [also] like taking different art periods and apply- When it came to the visuals of the project, I thought of the
ing it to design, like surrealism. political climate in America, motorcycles and the connection of
I read a lot of literature and I think within a lot of my work, I try to create a nar- being free on the road. I wanted to create a contrast of chaos and
rative through graphic design. Obviously I need to design for someone, so I al- balance, nostalgia and modernity.
ways try to [think about] how a design or how an illustration [can] connect with The imagery used is reminiscent of old American phography.
the people I’m trying to communicate to. How can I create an inclusive space Combining this with the lettering created contrast. I used a lot
through design? How do I visually communicate that? of white space because the lettering was a lot of movement – this
I also look at classic hand lettering – especially with this piece, The Indian Mo- also created the chaos/balance variance. But it also allows the
torcycle Company, (which was a school assignment). I took the idea of classic reader space for contemplation.
hand lettering and then combined that with graffiti street style. - Edited by: Sabrina Gamrot
JIMENA ARECHAVALA – SENECA INDEPENDENT ILLUSTRATION GRADUATE 2014
Imagination and creativity matter.

Our programs in creative arts and animation combine thinking and doing, and
challenge you to refine your talent. With a strong focus on original thinking you
will develop industry-ready skills that will guide your career.
senecacollege.ca/create
Photo courtesy of landscape photographer Steven Friedman, www.friedmanphoto.com
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Eight colours including three-levels of black, with 180 tiny nozzles dedicated to each.
That’s a lot of nozzles discharging droplets as small as 3.5 picoliters. FYI, a picoliter is a
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