We just received this cool piece of news out of the Windy City, where GERTRUDE Inc. served as host for PN7 Chicago. All of the CDs in attendance were asked to pick their favorite portfolios that evening, and the folks at GERTRUDE whittled that number down to three. The three lucky creatives would have their work (and contact information) played on 368 elevator screens across Chicago… including 21 buildings that house Chicago’s top agencies. Talk about a great way to get yourself noticed! This prize came courtesy of local PN7 sponsor Captivate Network,

When the dust settled, who were the three left standing?

• Chad Broude, Copywriter
• Arthur Tanimoto, Copywriter
• Brett Essman, Art Director

Congratulations gentlemen! Scroll down to see the little videos, which will begin running 24 hours a day all next week. But if you really wanna appreciate the quality of their work, click on their names above to link to their portfolios.

First of all, to everyone who attended last night, young creatives and CDs alike: THANK YOU.

To every host agency who worked so hard to pull this off, in a year where the economy made our industry so fearful: THANK YOU.

To every partner and host: THANK YOU.

We at ihaveanidea are looking for your Portfolio Night 7 stories. How was PN7 to you? Did you have a good time, an amazing time or even an awful time? Did you travel a great distance just to attend? Who did you meet? How did your portfolio fare? What kind of advice did you get? Did you get a job offer or an internship?

We want to know everything. Even the bad stuff, because there’s no way we can make this event better without hearing some constructive criticism. Please, email your thoughts to Brett McKenzie, ihaveanidea’s Chief Writer SBN2 at brett@ihaveanidea.org. Be sure to include your name and city you attended in the email. We promise to read every response!

Fast forward to Corbis’ London digs, where they filmed the draw for all to see.

Congratulations Andrew Maaldrink! Corbis will be in touch with you to give you your prize.

One more time… Welcome to Portfolio Night!

Of course there’s always the possibility of an agency hiring an extremely talented individual at Portfolio Night, but last year in Los Angeles, it was more than a possibility… it was a guarantee.

Yes, the folks at 180, hosts of Portfolio Night 6 Los Angeles, promised to hire the person with the very best book they saw that evening. And after a long and arduous process, they made good on that promise. The lucky individual? An extremely talented copywriter named Ben Barney.

But now it’s one year later. How’s it all working out for Mr. Barney? What was his Portfolio Night experience like? Is he still at 180? What does he have to say to this year’s batch of aspiring copywriters and art directors? We caught up with Ben recently and got his thoughts.

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First of all Ben, gimme a little bit of your story. Where are you from? What made you interested in advertising in the first place? Once you knew what you wanted to do with your life, what next?

“I’ve always wanted to be a writer. Some kind of writer. So I went to the University of Texas for their comm. program. I didn’t know what I wanted to do. But knew it would be a safe place to dabble for a few years and leave with my head screwed on straight.”

“So I began trying jobs on for size. First journalism. Then politics. Which is advertising with more responsibility and less fun. And when I was sick of wearing a suit to an internship every day, I stumbled onto the Portfolio program at Texas. It seemed like a writing gig. I wanted to be a writer. So I gave it a try.”

“I built a portfolio while taking regular, liberal arts classes. Graduated. And started sending my book out.”

“Soon thereafter, a recruiter from Crispin gave me a call. She didn’t offer a job. But they needed an intern. And fast. I already had two ad internships prior. But it was a foot in the door at Crispin, so I jumped at it.”

“I packed my only sweater into a suitcase, loaded up the car and arrived in Boulder 36 hours later.”

So how was Crispin? I mean, it’s a dream place for just about every young creative we talk to. Did it live up to the expectations? What was the biggest surprise about working there?

“Crispin was an adventure. In a lot of ways.”

“I came into the internship fresh out of school and flat broke. So I had to devise new ways to live on the cheap, going way beyond college thrift. They ordered a lot of Wahoo’s for people working late. And there’d always be a tray of rice and beans left over. So I’d spoon rice and beans into disposable coffee cups, pack ‘em into my backpack and smuggle the leftovers out of the office.”

“Crispin isn’t for the faint at heart. 12 hours at the office is a light day. But you really learn the craft.”

So what brought you out from Boulder to Portfolio Night LA last year? Was it solely the 180 promise to hire the best book? Did you  think about attending it in another city, or was LA your dream locale?

“I was in LA that week meeting people, showing my book around. A friend of mine was getting his book together to show at Portfolio Night New York and he turned me onto the event. Just so happened that Portfolio Night LA was going on the day after I was scheduled to leave. I rebooked my flight and slept on someone’s couch for another few nights.”

“It’s funny. I didn’t know about 180’s promise to hire someone until after I’d bought the ticket.”

Very serendipitous! How would you describe Portfolio Night to this year’s group of attendees? What was it like? How were you feeling? What was the vibe you got from your co-attendees?

“It’s the way high school tryouts would feel if the coaches gave you booze before practice.”

And then there was one: you were deemed to have the best book at Portfolio Night. What was that like? Were you pretty confident going in?

“It was a weird night. I walked in hoping there’d be free booze and walked out with a job. They were like, ‘Ok. Come in tomorrow, we’ll start the paperwork and give you a desk.’ And I said, ‘Whoa. Hold on.’ I was supposed to fly out the next morning to visit my girlfriend. So they gave me the weekend and I started work on Monday.”

“I spent the weekend worrying the job would disappear by the time I got back to California. I’d show up for work, and they’d say, ‘Who are you?’”

And now, looking back a year, how has it all been? What have you and the 180 gang been up to?

“The last year has been killer. I’ve got to touch everything here, across the board. Bombay Sapphire, Boost, Sony, Adidas. I couldn’t have landed at a better place to cut my teeth.”

Any words of advice for this year’s batch of hopefuls? I mean, they might not be involved in a “best book wins” situation like you were, but surely that experience has given you some nice Portfolio Night insight.

“If I had any words of advice, it’d be meet as many people as you can. Not just the tenured industry folk. Get to know your fellow Portfolio Night attendees. In a year or two, some ad kid in that room will be your foot in the door. Give it a couple more years and one of those kids will be a CD. So make friends.”

“Don’t be cocky. Stay humble. There’s always someone better than you.”

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.”

While schools have played host for the event in cities such as Barcelona, Santiago and Buenos Aires, and Portfolio Night has had a renowned school as a Global Partner in past years, 2009 marks the first year where ad schools have become direct sponsors of Portfolio Night on a local level.
One such advertising program that got involved this year is Seneca College, who became a sponsor of “the birthplace of Portfolio Night”, PN7 Toronto. On the eve of perhaps the biggest day of the year for Toronto advertising students, we caught up with Anthony Kalamut, Professor & Program Chair of Creative Advertising at Seneca to get his thoughts on Portfolio Night and Seneca.

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Why did you and Seneca get involved this year?

“As a leader in advertising education, I felt it was critical to help support one the most important events for students. For the last seven years, Portfolio Night has been the showcase for the future of our business to get “critical” feedback and “inspiration” from the best of advertising creative directors. Each year the opportunity has made my students stronger, and often gained them the required entry points to internships, networking and most importantly jobs.”

“In addition, Seneca has been a big supporter of ihaveanidea since Day One when Ignacio got started.”

Seneca has been making considerable waves among Canadian ad schools and programs of late. What would you attribute this success to?

“The program at Seneca has been designed to address the careers available in advertising. We help students develop into both the “Business” and “Creative” streams. The program helps develop account executives, media planners, buyers and strategists for the business stream, while always keeping the “Concept/Big Idea” as the foundation. On the other side, we develop critical thinking copywriters and art directors.”

What is the most important thing for advertsing students to know or hav, no matter what school they attend?

“Passion. The one thing we can’t teach!

“As teachers, we can only reach inside ourselves and look to inspire. All we can offer is inspiration, and lead THEM to the idea that if you love something, you will never work a day in your life.

“This industry beats the tar out of these kids, but by hell or high water the believers survived and succeeded.

“I hope that doesn’t sound like there is nothing to teach, but at the end of the day when all the teaching is done – passion is the only factor that really creates the success stories.”

Any Seneca success stories you’re especially proud of?

“At PN7 Toronto, two of the creative directors reviewing — Aaron Starkman of ZiG and Chris Taciuk of DraftFCB — are proud Seneca alumni. But the story of success reaches beyond that. We have leaders at every major agency in the country. The Cannes Young Lions competition has been a great success for the program. This year, Dan Bache of Taxi Vancouver will be going to Cannes. This marks nine winners from the program in the last eleven years. Other winners include Chris Taciuk (twice), Matt Bielby (twice), Michelle Spivak, Aaron Starkman, Steve Persico, Cam Boyd, Chris Joakim and Brett McKenzie.”

“Oh, and I would be leaving a major point out by not including our grads at the core of ihaveanidea; Brett McKenzie and Mimi Martinoski are my proud grads.”

How do you know if they are any good?

“Probably the same way ANYONE in the business does. Watch and listen. They prove it. They prove themselves. They prove it to others.”

“As for knowing great creative work when I see it. I push myself. I do it all day (sometimes all night), but I can’t push these kids if I can’t push myself. I am out there meeting and listening to the leaders and leaders to be. My six year old thinks I read the coolest books, all pictures and great images, he will one day understand that “annual” isn’t really a book… but he thinks it cool. I remind my students they are annual reviews of work and not a “MANUAL”.

I make it to every “reel” screening at least once. I host “screenings” and educational nights. I am “culture vulture”, a “media whore” and I’m passionate about the craft and the concept. Alex Bogusky had lunch with myself and fifteen of my students last spring, and he reminded us all of there is more to this then selling, it’s “live the craft” and “enjoy the process”.

“Beyond that I have what every CD and every parent has to go on – blind faith and a willingness to make mistakes, then correct them”

Any last-minute advice for anyone attending PN7?

“Simple. Open you mind. Listen. React. But don’t react simply to please someone else. React to make yourself better and stronger. Advise is critical. Use it well.”

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Anthony also maintains a pretty active blog over at: anthonykalamut.blogspot.com

CREATIVE DIRECTOR
LIFT
PORTFOLIO NIGHT 7 CHICAGO 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?

“Be yourself. Be open to advice and direction. Never apologize about anything you are about to present.”

Looking back, what was your own first portfolio like?

“My first portfolio was very heavy on art and surrealism. Very weird for a commercial market.”

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

“I had some negative reviews when I first started interviewing, so I reconsidered my place in advertising. After some time and effort, I bounced back with a revised portfolio that stood out from the standard.”

Finish this sentence: “Kids these days…”

“…need to be original and think on their own….without relying on technology.”

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

“My only pet peeve is that they often don’t understand their target audience.
When a junior sends a portfolio to a studio, it is wise to understand the nature of the studio and it’s clientele. A little research goes a long way!”

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

“First impressions are vital to a designer. A sharp portfolio is more important than the degree that backs it up.”

List three adjectives that describe the ultimate junior creative.

“Positive”
“Motivated”
“Hungry”

How do you feel about non-advertising expressions of creativity in a portfolio? For example, photography or poetry?

“Love it. I look for it in every portfolio. I can see so much about a person through their art. Less is more with personal work. It can set you apart if it’s professional.”

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?

“I look for confidence and clarity in a junior. I am always in meetings and pitches selling my own ideas. It is extremely important that I connect with my audience. Being open to critique and immediate reactions will make or break any deal in the creative world.”

Economy notwithstanding, is it tougher to break into the business today than it was when you first got in?

“We are experiencing a creative renaissance. If you are truly creative and talented, you will break into the business and have a future. Those with the best creative solutions will rise to the top.”

CO-CHAIRMAN, CREATIVE
HEY HARRY WORLDWIDE
PORTFOLIO NIGHT 7 TORONTO PARTICIPANT
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What are you hoping to experience at Portfolio Night?

“Fear and loathing.”

What single piece of advice would you give a young creative before he or she sits down with you at PN7?

“Have a point of view. Know who you are and what you do, and how you are going to sell it to me. I am not buying your work, I am buying you. Your work is just an insight into you.”

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

“Steve Hayden (co-creator of Apple’s ‘1984′ spot, then creative director of BBDO and now the Worldwide CCO of Ogilvy) told me that I had some of the best work and some of the worst work he had ever seen in a portfolio, and I should spend some time figuring out which was which.”

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

“The work should be good enough to make that a moot point.”

What the coolest thing somebody has done to get your attention (besides  having an amazing portfolio)?

“My first partner, when I was interviewing him for the job in the absence of my vacationing creative director, invited me to come see him open for the Indigo Girls at the Roxy on Sunset Blvd. His portfolio was good but not great, but his lyrics and stage presence convinced me that this guy had potential, and that he could teach me a thing or two that I would never learn from an awards book.”

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

“Derivative ideas. This is your chance to be totally original, maybe the last time in your career. Being brave and original is more important than being great or polished or familiar.”

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

“Bring ideas to the table, stop complaining and get on with it, and treat each day as an opportunity to dethrone the leadership of the agency.”

How do you feel about non-advertising expressions of creativity in a portfolio? For example, photography or poetry?

“Who cares about advertising? Show me that you can mobilize the masses, that you can create a phenomenon, that you can move the public into creating a community movement around an idea. I don’t care how you do that, but I am sure that it won’t be with a 30-sec gag featuring two people yucking it up in the kitchen.”

In general, how well do you think ad schools are preparing students for the business? What could they be doing better?

“Maybe I’m just nostalgic, but I think that this business was far more interesting before there were any ad schools. When agencies were peopled by misfits and malcontents who knew how to think, and gravitated to the business as a refuge for them to turn their creativity into a modest living with camaraderie, martinis at lunch and other great benefits.”

What would you say to a person with one phenomenal piece in their portfolio, but everything else in his or her book is mediocre or worse?

“Congratulations, that’s one more phenomenal idea than most people in this room. Keep swinging for the fences, and learn to edit.”