STEVEN ANACKER

CREATIVE DIRECTOR
SWIRL
PORTFOLIO NIGHT 7 SAN FRANCISCO PARTICIPANT
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What single piece of advice would you give a young creative before he or she sits down with you at PN7?

“Have a clear vision of what you intended for each campaign and be prepared to share that vision.”

Looking back, what was your own first portfolio like?

“Mostly hand drawn. One weird Nytol ad using the famous “School of Athens” painting got me my first job. Just that one ad.”

What was the reaction you got, the advice you received the very first time you showed your own book?

“That it was too weird for weirdness sake.”

Do you prefer to look at work on a laptop or in a physical portfolio?

“For print, I prefer physical. For the rest, I like online. I rarely look at physical portfolios anymore.”

Finish this sentence: “Kids these days…”

“…feel entitled. When we were students we honestly didn’t expect to land a job. And if we got lucky, we tried like hell to keep those jobs through hard work.”

What are your biggest pet peeves about the work in most junior portfolios?

“No difficult clients.”

How important is it for a portfolio to be highly polished?

“Unfortunately, it’s becoming more and more important. But a polished turd is just a shiny turd.”

What would get your attention more, a portfolio full of amazing ‘traditional’ work (print, poster, outdoor) or a portfolio of pretty good boundary stretching work (digital, interactive, wild new guerrilla concepts etc.)?

“This one’s easy. I’d choose the amazing traditional work. Great thinkers can work in any media.”

List three adjectives that describe the ultimate junior creative.

“Enthusiastic. Hard working. Fast learner.”

Who was your biggest creative idol when you broke into the business? How did he or she influence you?

“Steve Martin. He taught me timing. He showed me that one needs to be smart to do “dumb funny.” I’ve never idolized anyone within the industry.”

What’s the first thing a junior needs to know about working at your agency?

“We work FAST.”

Do you think there is much of a distinction left between writers and art directors nowadays?

“Yes and no. I want writers who think visually and vice versa. But there is a craft, and ADs and CWs need to master their craft.”

How important is it to have long copy ads in a copywriter’s portfolio?

“At least write a long paragraph. It’s discouraging how many “writers” can’t write a decent paragraph.”

A top-notch portfolio is crucial, but how much does personality count towards making a hire?

“It matters. If candidates are full of themselves, I won’t hire them. Don’t care who they are.”

Portfolio Night is as much about selling yourself as it is getting advice. Combine the two: what’s the best piece of advice you can give about selling yourself and your ideas?

“Be friendly. Be prepared to explain your choices in a professional manner. Be respectful.”

How do you know when you’ve just seen the best idea you’ve ever seen?

“I get excited and envious at the same time.”