What the big wigs think about your book

I promise I’m not making any of this up. Here are some ad greats in a round table talking about juniors and their books.  It’s almost nine minutes long but worth every nugget of knowledge. Check it out:


A lot of the young talent these days have the big ideas but they don’t have the craft

Some of the student books all look the same

I can’t find great creatives that can write a 30 second communication that’s interesting or a print ad that doesn’t look like a thousand print ads that I’ve already seen before

As long as they’re artistic and know how to express themselves and can communicate something, get those guys

The base I hire on: if you’re super motivated, everything else can be taught

Formal Emails?

How formal do you get? One of my students asked me this a while back and I'm finally getting around to answering it. (And if you've sent me an email, don't fret, I'm going to get around to answering that too.) 

Advertising is more like working in a restaurant then it is an office. You respect everyone's role and seniority, you work together to keep the place from burning down or going out of business, and you laugh at other people's expense.

So when it comes to emailing folks, imagine you're talking to a manager at a restaurant. Mr or Miss may not exactly be necessary, but always start off showing your respect for them and for their time. I always am a bit turned off when people refer to me by my last name... it makes me feel like they don't get what being a creative is.

If you're unsure, do start with Mr/Ms and see how they reply, if they sign off with their first name then you can call them that.

Don't ever write"To Whom It May Concern" or "Dear Sir/Madam". Ever. I will come through the Internet and smack you.

If emailing a Senator is a 10 and emailing your mom is a 1, think of emailing someone in the creative department as a 7. Show some personality but don't be too casual or familiar. (I am not and never will be "Neish" to you.)

Here are some other email tips
Dos & Donts
The Art of Emailing
Follow Up Email Template

Make it up

I used to have business cards that said "imaginationer" and "maker-upper" (among other things)
That's what I do. Imagine and make shit up. Every day.

My client comes to me and says "I can't sell these whatevers." and I make something up to get people to want to buy it. That's my job.

That could be your job.

Start thinking of new ways to do, say and sell everything.

How can you brand yourself differently?

How can you sell toilet paper differently?

How can you reach people online differently?

It really irks me when students and juniors come back with nothing. Don't tell me you weren't sure or you didn't understand. Your entire purpose in life right now is to make stuff up and what you're telling me is that you're useless.

Don't be a waste of DNA.

Even if you're not sure, always show up with something. The only wrong answer is no answer. I don't know is a cop out. 

If you're working on your portfolio, you should be coming up with 50+ ideas per assignment. You have no budgets, lawyers or clients, you have absolutely nothing stopping you but yourself.

If you're a junior, you should have 40+ ideas. Even if they may not work. You have to show that you're thinking and you're trying.

Keep imagining. Keep pretending. Keep making stuff up. Keep asking what if.

Get to work!

5 Tips for Aspiring CWs + ADs

This is my one and only post for this week. I'm on holiday and focused on America's two greatest pass times - Eating and Shopping.  Have a happy tofurkey day and keep some pepto close by.

Here's an article from Mashable with tips for you chicklets (basically everything I've said in the past 6 months in one place. Doh!) and even 50 job posts you should check out. (It's from August but it's good to look at job descriptions and start seeing what skills you need to have.)

5 Tips for Aspiring Copywriters & Art Directors

Between high-profile awards shows and TV series like Mad Men, more and more of the American population are coming to realize the glamor of the advertising industry — and there’s perhaps no role more inspiring, frustrating and, yes, sometimes glamorous, than the role of an advertising creative.
Advertising creatives fall into two main branches: copywriters, who are responsible for coming up with creative concepts and writing copy for ads (as necessary), and art directors, who work with copywriters to fashion visual solutions to creative problems. Good copywriters and art directors are often promoted to become creative directors (CDs), executive creative directors and, ultimately, chief creative officers (CCOs).

Of course, creatives don’t run the entire advertising creation process; they work with talented teams of account managers, producers, project managers, brand planners and more to oversee branding and creative work for clients.

For a typical advertising campaign, brand planners and account managers will work to outline specific goals to compliment a client’s overall communications strategy. Creative directors will take these outlines, called creative briefs, and work with various creative teams (usually copywriters and art directors, but often brand planners, social media strategists and other specialists as well) to brainstorm ideas to pitch to clients. When or if ideas are approved, the creative director then manages the campaign’s execution.

If this sounds like the career path for you, read on. We’ve interviewed some of the top creatives in the advertising industry to get their advice on how to break into the business.

1. Prepare Yourself (And Your Portfolio)

The portfolio is arguably the most important part of any aspiring copywriter’s, art director’s or creative director’s job application. When putting together your book, keep these things in mind:

Show your best work. “When you’re starting out, it’s tempting to put as much as possible in your portfolio,” Alec Brownstein, a senior copywriter at advertising agency Y&R, explains. “My advice would be to put in only the things that you think are really good. It’s better to have a small, really good portfolio than a large, mediocre one. Even if you’ve actually produced an ad, don’t put it in your portfolio unless it’s good. Produced work is only impressive if it’s good.”

Show the kind of work you want to do. “Fill your portfolio with the type of work you want to do, not necessarily the type of work you’ve done,” Brownstein insists. “If you want to do edgy, funny work, make sure that comes across. It’s hard to get a job on an account that does irreverent work if your book is full of sentimental, mushy ads.”

Experiment broadly. Several of the professionals I spoke to warned against “safe” portfolios. “I hate seeing portfolios from students full of ‘ad-like objects,’” Chris Clarke, Chief Creative Officer at LBi discloses. “Ads are not enough, show me experiences and content, not a series of posters and tag lines.”

Think outside the box — try different media, creative ad placements and guerilla tactics. Brownstein suggests that aspiring creatives “get some friends together and spend an afternoon making something. You don’t need a lot of fancy equipment to do it, either. The new iPhone and Droid phones shoot in HD.”

Be receptive to feedback. If you’re just starting out in advertising, or if you’re reentering the job market after several years, you’ll want to show your portfolio to as many people in the business as possible. Be open to feedback about your work,” McCann Erickson VP and Creative Director Steven Nasi says. “Take in everything that people to whom you show your book say to you, reflect on it, decide what’s useful and act on it. Knowing how to show your work is one thing, but learning how to listen, synthesize and incorporate feedback might be even more important.”

Invest in your own development. It’s not all about the book, James Cooper, a senior vice president and interactive creative director at Saatchi & Saatchi insists. He advises those trying to break into the business spend a year traveling or working “somewhere other than an ad agency…If you want to stand out and want longevity you need to do the wrong thing.”

Both he and Karen Ingram, an associate creative director at McCann Erickson, suggest that aspiring creatives work on developing a broad skill set. “Learn to create something from scratch, with your bare hands. The future is in branded product development which means having practical as well as theoretical skills,” Cooper explains. Ingram likewise encourages diversity. “I like to hear that folks have an array of skills –- a designer who can also do AI. A writer who knows Photoshop. The landscape we’re working in now is always fluctuating, and it’s a necessity to have a range of skills that can be tapped into in a pinch. Don’t be imprisoned by your role. Be flexible,” she says.

Both Cooper and Nasi emphasized the importance of staying engaged with popular culture. Read books (Steven specifically recommends Robert Cialdini’s Influence, Daniel Miller’s A Theory of Shopping and the Harvard Business Review “for starters”), watch films, listen to music, read gossip columns, and go to art exhibits and music festivals. “Interweaving brands into popular culture is key,” Cooper says.

2. Find the Right Fit/Agency

Just as it’s important to show “the type of work you want to do, not necessarily the type of work you’ve done,” as Brownstein put it, it’s critical to find an agency that’s the right fit, both in terms of culture and the kinds of work you’ll get to create. “You should look at the agencies out there and identify the ones doing the type of work you want to do. Then go for them and only them,” Brownstein says.

Identify the creative directors and brands you’d most like to work with, rather than the agency with the biggest name or the first one who offers you a job. You’ll want the opportunity to create work that will make your portfolio even better in the future.

3. Get Their Attention

The desks and inboxes of creative directors are perpetually overflowing with the portfolios of job seekers. No matter how great your portfolio, if you can’t get anyone to look at it, you’ll have a tough time getting hired. The delivery of your portfolio is yet another opportunity to showcase your creative skills.

The method Brownstein employed in his last job search is a great example. He created a $6 Google AdWords campaign to target the chief creatives at Y&R, a tactic that not only landed him his current job, but also resulted in a story here on Mashable, as well as CNN, ABC, NPR, The Huffington Post and elsewhere.

Mike Germano, President and Chief Creative at Brooklyn-based agency Carrot Creative, recalls how a candidate at Digital Dumbo’s career fair in July got his attention. The young man handed him a zip drive, “saying I would find his CV and some ‘other relevant work’ on it. The next morning, I popped it into my computer to find, indeed a PDF of his resume, but also a folder entitled ‘Porn.’ I thought, wow, is this guy serious? Curiosity got the best of me and I clicked it. Inside was a document titled ‘Just Kidding’ which had ‘hahaha’ written across the top of the page. It brought a smile, piqued my curiosity and showcased his personality.”

The best job application CCO Chris Clarke said he ever received was from Matt Stafford, “whom I hired immediately and on the spot.” Stafford sent Nasi both an e-mail (copied below) and a tweet with a URL to a “classified video transmission,” which led to a custom video and links to Stafford’s portfolio.

If you’re an aspiring designer or art director, you may want to take note of Ingram’s strategy. She created a series of limited edition art postcards that double as business cards.”Usually I have an array of them that people can choose from, so it’s almost like you’re giving someone artwork instead of a run of the mill business card that will get shoved in a drawer and forgotten. The best part is the people that I give them to often end up displaying them in their work areas,” she says.

4. Ace the Interview

The interview is an opportunity to discuss and get feedback about your work, and to see how your personality pairs with the agency.

Ingram suggests that applicants “select a few favorite projects and have in mind what you like about them as well as what your role was. Talk about the process of working on them, too. When I am talking to people, I am far more interested in knowing what their working habits are, than how many awards they’ve won,” she says.

As a side note, she also insists that no one should ever go to an interview without safety pins. “You never know when your super smart shirt dress will sabotage you. I learned this the hard way!” she recalls. Although the dress code at agency interviews is less formal than most — unless you’re applying for an account management position, you’re not really required to wear a suit — personal grooming (neat hair and clothes, etc.) is still critical.

5. Keep Up the Good Work after You’re Hired

If you’ve made it this far, congratulations. Breaking in to the advertising business on the creative side is no small feat. And now the real work begins.

Eric Andrade, a former copywriter who now works as an Executive Producer at digital agency R/GA, says, “One thing that helps is to understand the roles of the other members of your team — planners, producers, client services, analytics.” Doing so, he claims, “helps to bring a bit of perspective to your creative, and the restrictions actually force you to be more creative in the way you develop your concepts.”

You should also continue to work on your own self-development. Build up your other abilities, especially your presentation skills, Steven Nasi advises. As you advance, you will increasingly “be presenting to your boss, your client and your peers, and if you’re not comfortable doing it, it will show. Take a class on presentation basics if you think you need it. In fact, take one even if you don’t.”
These five tips will get you far in the advertising world. Which tips would you add? Let us know in the comments.



Here are some sites to help you not suck at being an art director/ designer. (Like the joker who did this --->)

Having great ideas is only half of the equation. Knowing how to execute them is key. (If you're a copywriter and don't ever want to be stuck looking for/waiting for an art director, feel free to teach yourself how to be awesomer too.)

Abduzeedo Tutorials

10 Websites To Make You A Photoshop Ninja

Get to work.

Retail Alphabet Game

Branding is a powerful thing. I almost lost my nuts when Gap changed their logo. (Though I really think they just did it to get attention.)

One thing students always slip up on is preserving branding. They come up with really great ideas but for the wrong product or they deviate too far from the current brands look/feel to create something that albeit cooler/hipper, would never, ever fly. Companies pay big bucks to have their branding done (logos, typefaces, colours etc) and they have massive brand guideline books and lawyers who go back and make sure they're following them.

So here's a tip, if you're creating something for a well-established brand, stay as closely as you can to their brand without sacrificing your awesome idea. If their main colour is red, don't go all orange on us. It's confusing, and like in the situation of Gap, (and other ill-advised branding changes) upsetting.

Now, to the fun part.

Can you guess which brands these are from looking at one letter from the logo?

What I look for in a book

Does your portfolio match up?

Guest Post from Makin' Ads. 

What I Look For In A Book

Last week I reviewed student portfolios at the AD2SF review. The thing I've learned about these big portfolio reviews is that in order for your advice to be helpful, you have to tailor it to the level of each person's book. If the book doesn't have a good concept in it, there's no sense in talking about typography.

I like to flip through the whole book first to get an idea of what level it's at. I also ask the person upfront what their current situation is (which quarter in school, looking for a job, freelancing, whatever). This helps me assess what the landscape looks like. The landscape (and the discussion) usually then takes place on one of three levels:

1) Concepts. If there aren't solid concepts in the book, the rest doesn't matter. Bad concepts with good design are just bad concepts. If the concepts are hit-and-miss, most of the review will be about pinpointing which concepts are working and which still need work.

2) Execution. If the concepts are solid, I start looking at the craft. Do the executions deliver on the underlying concept? Do they communicate? Are the headlines well-written? Which are the strongest and weakest? How about the copy? For art directors, I'm looking at design, type treatment, etc. I want to know that this person has a mastery of the skills they'll need in the industry. What can be polished?

3) Personality. If the concepts are good and well-executed, I start looking for a range of voices. A smart book is one thing. A book that makes me laugh is another. And a book that makes me laugh on one page, think on another, and get all weepy on the next is another thing altogether (I have yet to get weepy over a book). I see that as the last stage--you have a good book with well-executed concepts. Now push yourself to write or art direct in different styles. Show me that you have more than your one voice.

Good luck to everyone finishing up their portfolios.

Bad News for Holiday Job Hunter

Sorry to break it to you, but if you're looking for a job this fall/winter, you may want to secure some food stamps, freelance or some family/friends who love you and are willing to support you for a few more week/months. (I will say though, I was hired in December before, so miracles do happen. Don't lose hope chicklets.)

Guest post from Professoradman.com 

Tis The Season Not To Hire

It's November. Agencies aren't like departments stores. They don't staff up for the holiday season. The hiring process slows sometimes because decision-makers aren't available. They're trying to use up their vacation days and attend holiday events, from the office parties to their kids' Christmas plays. Sadly, some companies have to make those painful cuts. (I was once laid off from an agency on Christmas Eve.)

Now that they are slowing their hiring efforts, does that mean you take a holiday break?

No. Not ever.

Agencies with recent big wins sometimes have a need to hire immediately, because they need to hit the ground running in January. (New employees have no vacation time.) Some have a desperate need to fill spots, because someone quit, short-staffed, etc.

Let's say you are fortunate enough to get called in for an interview in November or December. Ask how soon do they plan to fill the position.

If it's 2011, follow up immediately with a memorable thank you letter. Never do email. The personal touch is always best. If it's 2012, still send a nice "thank you," but follow up with another in January.

It worked for me.

Years ago, I was hired at my former job at Campbell-Ewald in December – days before the company party. I really had something to celebrate that year.

Advertising (told in infographics)

Two great ad-related infographics I've recently come across.

A Day in the life of a Graphic Designer
(stolen from Kiss My Black Ads)

A Basic Breakdown of Agency Folks

Edit, edit, edt.

Nothing is ever perfect. Your book will never be finished. (I've written about this before here). 

There will always be something you can fix, something you can make better.

Start learning how to edit now. 

“Before you leave the house, look in the mirror and remove one accessory.” -Coco Chanel.

It works for fashion and for advertising, too.

Writers, edit your headlines and body copy. Be precise with pretty much every sentence you write. Write. Rewrite. Erase. Write again. Cut out words. Use different words. Step away. Start all over again. 

Art directors, edit your layouts. Add more white space. Remove elements. Rotate elements. Streamline. Take out a typeface. Use a different typeface. Step away. And start all over again.

 “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.” — Antoine de Saint-Exupéry

Strip the piece down to its barest form and then rebuild from there. Does it need that word? Does it need that graphic?

Make sure everything you put in is adding something to the piece and serves a genuine purpose.

Not just because it sounds good or looks good. But because it makes the overall piece better, stronger, more effective.

This should be your goal with everything you work on.

Go look at your book now. Is there a campaign in there that isn't adding to your overall book?

Look at every campaign. Is there an ad in there that isn't adding to the overall campaign?

Look at every ad, is every element, every adjective, every comma absolutely necessary?

If anything makes you say "Well..." or "Er..." Take it out. Right now.

Potfolio School through the eyes of...

Your website* is a great opportunity to show off your creativity and show your work. (Just don't let the site be more awesome than your work). Whether or not you are an AD or CW, went to portfolio school or not, you should be looking for every outlet to showcase your skills and ability.

This site is for Chicago Portfolio School, inspired me and I hope it gets you thinking about what you can do with your site too.

See the school from various points of view:

A cyborg

A dog

A Current student

*You do have a website right? Right? RIGHT!!!

Making the most of being a minority

So let me preface this by saying I hate the term minority and everything that comes along with it. It sets up this idea that I (being black and being a woman) am deficient and "other." I'm not having it. I used that term only for the sake of a clever headline but will from here on out and forever in my life use "multicultural" or "people of diverse background."

Because either way, the truth is that the make up of America is changing and the "minority" will soon be the "majority" and ad agencies need to change, too.

My post with the video Pursuit of Passion touched a bit on the lack of information available to multicultural people about the advertising industry.

It's just not in our first list of careers. You'd sooner think of being a basketball player than you would an art director. I know in my family, people think I'm in marketing and have little to no understanding of what I do on a daily basis.

I remember one day when I was in portfolio school and my sister came home from work to me sitting at the kitchen counter with my open notebook, staring off at the ceiling. She asked what I was doing, I said school work. She went upstairs and came back and hour later and I was still sitting there, pencil between my index and thumb, looking up. She gave me that "Really?" look and I tried to explain to her that I was doing something very important. I was coming up with headlines. For Carmex lip balm. I had 22. I needed 50. I was stuck on balm. The word "balm" was the problem. Balm is for Vicks. It sounded too medical. Carmex is more like lip gloss. Only, men don't wear lip gloss. But if we called it something else, they would. So what should we call it? And it couldn't be anything that would alienate women. Unless we ran it in a men's magazine. Then that'd be okay. But really, men don't want glossy lips. Just smooth lips. But how can you say that in one ten-word sentence... She walked away before I could finish.

Your family may not get what you do. Or why you do it. But if you're serious about it, use as many resources as you can to get them on your side, because we need you.

The days of Mad Men are over. In theory. Not necessarily in practice.

Creative departments need more diversity. People who've lived differently, learned differently and think differently. People with colourful accents and stories. Interesting backgrounds and mixed up references. Multicultural, multicoloured, multilayered, multifaceted people.

Agencies want you. Clients want you. (No one wants a repeat of the Nivea beard situation or the Duncan Hines blackfaced cupcakes.

But you can't just get a job because you're not white. You will get a job because you're great. And because you bring a new perspective. But first you have to be great.

So get yourself together.

Apply for some scholarships 

Go to portfolio school *(optional)

Work on your portfolio 

Make some connections 

Get some interviews 

And come make some amazing ads.


Watch This: Pursuit of Passion

Sadly, too few people know about the creative career path. They end up going into magazine design, journalism, or *shudder* law. Too few high schools are telling the artsy, weird kids that they'd be welcome in an ad agency. Too few colleges are teaching copywriting and art direction. Too few parents know what a portfolio school is.

So we end up with ad agencies with creative departments that don't reflect the rest of the country. There aren't many Black creatives, or Brown, or Yellow. Culturally, we're often told to be doctors, lawyers, teachers... "normal" careers. Go get your MBA. Major in finance. Intern at a newspaper.

I remember when I told my mother I wanted to go to portfolio school. I'd already gone to a school out of Georgia, where I'd earned in-state (aka free) tuition to go to UF (Go Gators) and pay out the ass. And now I wanted to go back to Georgia, to pay even more money, to go back to school --- a school called the Circus at that? Yeah. It was a tough sell.

Thankfully for you, there are organisations and groups working to educate schools, students and parents about advertising and the creative career path. *whew*

The Pursuit of Passion has a short video featuring some interesting folk, just like you, who followed their hearts and pursued a job in advertising. They share their stories and tell about their lives and professions.

Check it out and share with your friends and parents so they know you're not the only weirdo who likes to draw/write/create.

Watch the film here
Find out more here

Art Battle & Career Fair

Tonight in New York.
Spread the word. See you there

Mailbag: Responses from a recruiter

Came across this post on Confessions of a Creative Recruiter and thought these answers would be helpful to you. Yes, you.

Q: When is the best time of the year to apply for jobs as a copywriter?
At first, I didn't really think there was a season for copywriter jobs, but when I thought again about your question I changed my mind. I can tell you the season when agencies and recruiters are flooded with other candidates - graduation time. This may not translate to a hiring season, but it certainly would be the time when you are competing against a larger than average pool of candidates.
I wrote a post a while back about two seniors about 2 months from graduation and they were already making their rounds across the country on informational interviews. They wanted to beat the graduation rush and that was pretty smart.

Q: Do you have any advice for a copywriter trying to get a job without a partner?
Have a great book. That's it. The best books get the job, partner or not.

Q: Does your level of creativity determine salary and/or title?
Not title. Right out of school you are a junior until you prove yourself otherwise. (I am assuming you mean juniors here). Now salary, perhaps a bit. If I think a person is super, super good and that they may be considering other opportunities, then of course I want to entice them with a higher salary. We just interviewed Jeremy Carson, an CSULB senior three days before his graduation. His book was fantastic. Right now he has more than one employer courting him and I can bet you the highest salary has the strongest chance of landing him.

Q: Do all ‘juniors’ have to start as juniors?
Uh. Yea. But that you put 'juniors' in quotes I am guessing you mean someone who maybe is older than the average student or had another career before getting in to advertising, then are they really a junior when they start? I met a guy at Brandcenter recently who went to portfolio school, became a copywriter then went back to school to get his masters as a Creative Technologist. He asked me the same question. He isn't a junior due to his previous years in the business, but he is a junior in terms of just graduating with a different degree.
I would image each recruiter has the discretion to make the hire at whatever level seems appropriate. I'd hire that CT from Brandcenter as a mid-level person, his experience as an agency copywriter would be a big plus.

Q: How long should I wait for a response before realizing that they are just not into my book?
Well, always remember that no response does not necessarily mean they aren't liking your book. It usually means the person is way too busy with way too many books to look at to either check yours out or to get back to you once they do. Wait a decent amount of time after sending it before following up. Then wait a decent amount of time after that before sending one last communication (email/vm) that says something like, "I recently sent you my portfolio, which I am hoping you've had a chance to review. I am very interested in working at ________________, yet above all I'd love to hear your feedback on my work. May I get a few pointers from your perspective that would make my book better?
No person in their right mind could ignore that. A genuine request for feedback. Then, in getting their feedback, you'll also get a clearer answer if they like your book. Or not.

Q: Should we try to get the Creative Recruiters direct email, or just send via the 'general way', like whatever their website provides us with?
Try to get the creative manager's direct email. My HR forwards me anything remotely creative, but you don't want to take the chance that other HR people don't or that your email gets lost in the shuffle.

What If?

What If is your best friend.

If you haven't met What If yet, let me introduce you. (And don't go telling people that you met What If first and start acting like you and What If have been down for so long when you know I put you on to What If.) What If, this is blog reader.
Blog reader, this is What If.

What If is an idea pusher. Kinda like a drug dealer. But without the guns and danger and whole "ruining your life" bit.

What If is the beginning of every good idea.

When you get involved with What If, it's a nonstop, no-holes-barred, uncensored creative brainstorm session.

Ask anything. Throw anything out there. Don't stop yourself to think about whether it's real or feasible or fun or sensible or not.

Take whatever the project/brand/product/service is and turn it every which way and ask What If.

What if it were blue?
What if aliens were using it?
What if it could fly?
What if it were free?
What if your dog ate it?
What if Will Arnett were selling it?
What if this were the 70s?
What if the government banned it?
What if it got wet and reproduced?
What if we shrunk it?
What if it were in an oyster?

Then, take those What Ifs and run with them. Go on a rapid, random tangent like they do in Family Guy or in Scrubs. Let your imagination take that what if and see what it can make of it.

Remember, there are no judgements in brainstorming. So just let your mind go and let What If take over for a while. You never know where you might end up. Or what you can make happen.

If you do nothing else I mention in this blog, always ask what if. (And seriously, don't be an asshole.)

Enter This Competition: Young Glory

Sorry I missed out on this for October. (I've been busy working and living and couldn't keep up. I know. I suck.) Good news is there are seven more months to go!

If you're under 30, creative and love a good challenge, head over to Young Glory and check out November's brief here

Here's info I copied and pasted from their site (yep, I def suck.)

Young Glory is the only worldwide competition to reward creative consistency. It is also your chance to get work in front of a big industry name every month.

8 months. 8 briefs. Each month, between October and May, a different industry leader sets and judges his/her own brief. Participants have one month to respond to each brief. Brief 1 is live now.

Students and Professionals under 30 compete monthly in separate categories to win Gold, Silver, Bronze or Finalist spots. You can participate in one, several or all months.

Earn points for every accolade you win over the 8 rounds (see the points system). At the end of the Young Glory season, the industry's most consistent creative talent will be crowned.

For more info see the FAQ section. To stay updated, sign-up to the Young Glory Newsletter.

Get to work!