This past month, DCS hosted the judging for the District 5 Addy Awards. DCS volunteers were responsible all facets of the competition: receiving and organizing the work, setting up the judging area, and recruiting judges and hosting the judges.

Entries for the competition came from Ad Clubs throughout Ohio, Kentucky, and West Virginia, and local winners included pieces from SAA, FORGE, Real Art, and Showdown Visual. These entries will move on to the AAF National Addy competition, coming up in San Diego on June 4.

The judges who came to Dayton for the competition represented some of the leading creative directors in the region: Amy Baker of Fusion Alliance, Penny Dullaghan of Penelope Illustration, Darren Halbig of Publicis Indianapolis, and Gordon Robertson of Brunner.

DCS’s Samantha Enslen talked with the judges after the competition to get their two cents on the show and the value of serving as an Addy judge.

Sam:              So, what did you think about the show? Did you notice any trends?

Darren: I thought there was a lot of good work, but there were 40 to 50 pieces that really stood out. Those entries were thoughtful, well designed, and presented well.

Gordon: Although I’ve judged several local Addy shows, as well as some other creative competitions, this was my first opportunity to serve as a district Addy judge.  Since I’ve judged Columbus twice and Cleveland just last year, I had a good idea of the caliber of work to expect.

I have to say overall, I was underwhelmed by the body of work.  With a few notable exceptions, I didn’t see many breakthrough ideas.  And those really fresh ideas sometimes were not produced as well as possible.

Penny: There was quite a bit of work to go through for this show, and while some pieces could have been pushed further, I thought that others were really stunning. You could definitely see which pieces were backed by the trust of the client paired with the push of the agency. Good relationships shone through in the best work.

Sam:              Spot any trends?

Darren: I really didn't see any trends, and to be honest, at the regional level I was a little disappointed there weren't more entries that pushed the limits of traditional advertising. There seemed to be a lot of the same old things. Also, I was surprised by the number of pieces that had gotten to this level with really bad typography.

Gordon: One trend that I noticed was more attempts at integrated user experience.  Maybe it’s not a coincidence, but that trend seemed to run strongest with campaigns on behalf of universities—Kentucky, Kent, Cleveland State.

Sam:              What stood out or surprised you?

Penny: I was surprised by just how solid the best in show piece was [the Western & Southern Financial Strength and Stability" TV campaign, produced by Cincinnati agency Northlich]. I mean, of course it’s good, but it was so complete, from the idea to the execution. And it was in a category that’s tough to do good work in.

It just proved it really can be done, and it seemed to spring from one of my favorite assumptions: That people are smart, and they appreciate ideas that aren't watered (or dumbed) down.

Gordon: A few entries that have stuck with me a week after judging:  the Black Flag projection (still think that was brilliant) [by Marcus Thomas in Cleveland], and the station domination of Maker’s Mark [by Doe Anderson of Louisville].  Also, the Mark Bradford exhibit interactive site [by Resource Interactive in Columbus].

Sam:              What's the value in being an Addy judge? Why should others consider it?

Penny: I think it's inspiring to reward the work you like seeing in the world. To stand up and formally, officially say, "Yes! More of this, please!" I tried to give high merit to work that had smart ideas backed by good execution, and poorer marks to things that seemed to lack that passion.

Darren: I think being an Addy judge exposes you to new work and new markets, and it can help you identify trends and techniques early. I do it to give back, to learn what else is out there, and to make connections that I would probably never make otherwise.

Gordon: I agree with Darren—the element of connectivity is critical.  As a creative and agency manager, it’s important to expose myself to the challenges and victories of regional agencies.

Sam:              Any other thoughts you’d like to share with Dayton creatives?

Penny: I really think it's important to do work that puts some good into the world, and doesn't just solve the problem or fulfill the assignment.

We all get this chance, on a regular basis, to give someone a new idea to think about, a new initiative to get behind, or even just a funny joke to laugh about. It's important to make the most of that opportunity.

Hokey as it sounds, it's really about what you're doing for other people. The human benefit is what counts.

Samantha Enslen runs Dragonfly Editorial and often wishes she had one designing bone in her body.