The Ad School Review

The nation's top ad programs tell us about themselves.

By Published on .

How are the main suppliers of tomorrow's creatives -- ad schools -- shaping up to meet the industry's creative demands? Our efforts to find out resulted in Creativity's first Ad School Review. Below, you'll find top line information -- provided by the school's themselves -- on 11 leading U.S. ad schools, including program overviews and statements from school leaders on how their programs are evolving as the industry changes.

Founded University: 1870; Advertising Design program: early 1960's.
Programs offered 200+ majors, including Advertising Design, Communications Design and Illustration.
Degree/Diploma offered BFA, MA (Independent Study Degree Program: please see
Curriculum Advertising Principles: study and practice of the tenets common to award-winning advertising; Design Methods: design principles and production techniques emphasizing manual, digital, and intellectual skills for communication of ideas and their translation through various methods for print; Strategy in Advertising: process involved in developing advertisements from a concise marketing strategy; Design Skills & Processes: Macintosh technology and software programs as design and production tools for print media. Application of tools and software to create solutions to traditional visual communications problems; Advertising Campaigns: recognition and implementation of the "big idea" as the basis for print advertising campaigns; Digital Design: advanced skills in digital software and its application (web design and execution); Advertising Design Research Problems: individual development in specialized areas of advertising design; Campaign Refinement: refinement of campaign concepts and their finished execution; Advertising Problem Solving: development of sound rationales for creation of ad campaigns. Research, target audience identification, problem definition, and design; Final Portfolio: final execution of campaigns, resumes, and self-promotion pieces; Television Concepts: creating and developing distinctive TV commercial concepts from the marriage of words, pictures, and motion; Television Commercial Production: video techniques in the production of television advertising commercials. Major emphasis on computer video (non-linear) editing.
Number of students University: 12,000 undergraduates; Program: 70 undergraduates; 2004 Advertising Design graduates: 25
Key Faculty Pete Barry, Steve Montgomery, Toni Toland
Approach/Philosophy The undergraduate program offers the experience of an art school encompassing both traditional and contemporary media and techniques, combined with the breadth and depth of a traditional university education. Our goal is to prepare students for the industry without the need to further attend portfolio schools.
Internships DDB Student Internship Program. Other regional, state and nationwide agencies include Arnold, Lowe, Deutsch, Y&R, Mad Dogs & Englishmen, Eric Mower, among numerous others. Study abroad locations include: Florence, Barcelona and London. Many of our students also successfully pursue studies in Australia. Affiliations include: One Show, Art Directors Club, Addys and AIGA student events, portfolio reviews and exhibitions. Other related events: Lubin House, N.Y.: senior portfolio presentation to advertising agency creative executives, and alumni reunion. Weekly symposiums by industry notables provide the opportunity for networking, and include senior luncheons with speakers.
How has the school and its courses adapted to meet the changing needs of the industry? Reinvestment in traditional and multi-media facilities and equipment; curriculum revision of relevant programs and courses; and globalization of advertising supported by international faculty, including a new proposal for internship opportunities in London.
Placement rate Over 50%.
Alumni honor roll Lars Anderson, Mike Shine, Frank Todaro, Bryan Buckley, Deacon Webster, Taras Wayner, Matthew Vescovo.

Founded 1997
Degree/Diploma Offered Does not offer degrees, diplomas or certificates. Adhouse is professional training program offering exposure to the top CDs in New York.
Curriculum Classes are all concept development based (Introduction to Creative Process, Concepting Creatively, Advanced Concept Development and Focus on Portfolio).
Number of Students Between 60 and 80 students each term.
Key Faculty and Board Board is made up of founders and co-directors Lauren Slaff and Gary Goldsmith. Our faculty currently includes many long-term repeat instructors including Mikal Reich, Mad Injection; Greg Di Noto, Di Noto; Jeff Kling, Euro RSCG; Jim LeMaitre, BBDO; and Bobby Hershfield, Wieden + Kennedy. Other faculty has also included Stacy Wall, Jamie Barrett, David Angelo, Gary Goldsmith, Kevin Roddy and Ty Montague.
Approach/Philosophy Our philosophy is pretty much anti-academia. We are a training program that, by hiring only highly-awarded supervisory level teaching talent, instills realistic industry standards into our teaching practices. We are a conceptually focused institution catering to working stiffs here in New York City, this country's largest advertising market, who want to learn from the best without any hand-holding. To further our student's professional education, we offer Creative Bootcamp, an intensive program that encompasses a full-time internship, concept class, agency interviews and one-on-one critiques.
How has the school and its courses adapted to meet the changing needs of the industry? We've adapted the best way possible, keeping the heart of our organization -- the CDs who make up our renowned faculty -- the most current top talent in New York.
Placement rate Like the creative talent in this competitive industry at large, only a small percentage of our students rise to the top. Of the students who stick with the program, we have a high success rate of placement at top agencies including Mother (Dave Clark), Crispin Porter + Bogusky (Steve O'Connell), Wieden + Kennedy (Bobby Hershfield), TBWA/Chiat/Day (Jason Stefanik), Kirshenbaum Bond & Partners (Jenny Grant), Lowe Worldwide (Chip Rich), Mad Dogs & Englishmen (Judd Councell), DeVito Verdi(Rich Singer) and more.

Founded VCU Adcenter's Board formed in 1995. The first class of students started fall 1996. Programs offered The VCU Adcenter is the graduate advertising program for the School of Mass Communications at Virginia Commonwealth University. The program offers four tracks: Art Direction, Copywriting, Strategic Planning, and beginning in 2004, a brand new and unique Creative Media track.
Degree offered Students earn a Master's of Science degree. A four-year bachelor's degree is required. Our program begins each fall.
Curriculum Art Direction Curriculum: Advertising Layout & Typography, Advertising Technology, Creative Thinking, Advanced Art Direction/Layout, Perspectives in Advertising, Documentary/Film Storytelling, Ad Concept Development, Portfolio Review, Ad Concept Development II, Non-Traditional Advertising Campaigns, Presentation Skills, Ad Portfolio Development, Ethics in Mass Communications, Broadcast Development and Production, Thesis. Copywriting Curriculum: Advertising Technology, Creative Thinking, Copywriting Techniques I, Presentation Skills, Copywriting Techniques II, Ad Concept Development I, Perspectives in Advertising, Portfolio Review, Documentary/Film Storytelling, Ad Concept Development II, Non-Traditional Advertising Campaigns, Presentation Skills, Ad Portfolio Development, Ethics in Mass Communications, Broadcast Development and Production, Thesis. Creative Media Planning Curriculum: Advertising Technology for Copywriters, Strategists and Media Planners, Creative Thinking for Advertising, Strategic Thinking for Advertising, Media Research & Planning, Strategic Insight Development, Advanced Creative Media Planning, Perspectives in Advertising, The Business of Advertising, Portfolio Review, Advanced Strategic Insight Development, Documentary/Film Storytelling, Non-Traditional Advertising Campaigns, Presentation Skills, Advertising Portfolio Development for Strategists and Media Planners, Ethics in Mass Communications, Account Leadership, Thesis. Strategy Curriculum: Advertising Technology, Creative Thinking, Research Methods, Strategic Thinking, Strategic Insight Development, Advanced Media Research & Planning, Perspectives in Advertising, Portfolio Review, Documentary/Film Storytelling, Advanced Strategic Insight Development, Non-Traditional Advertising Campaigns, Presentation Skills, Ad Portfolio Development, Ethics in Mass Communications, Account Leadership, Thesis.
Internships Because it is not aligned with one agency, the Adcenter works to get students placed in paid internships during the summer between their first and second years. These internships are with some of the most well respected agencies across the nation. A few of the agencies participating this summer include Leo Burnett, BBDO, Hadrian's Wall, The Richards Group and DDB/Chicago. Because of their level of preparedness, our students are often able to work on client assignments that are eventually produced by the agencies. For example, the student team of Allison Hayes, Susan Hurley and Abeer Hago interning at Campbell-Ewald in Detroit, working under the leadership of Bill Ludwig, have sold a campaign for GM and will stay at the agency long enough to produce the work. The Adcenter also provides students in both years the opportunity to work with mentors in the industry who make themselves available for creative input and critique of student work. Students also have the opportunity to produce documentaries, listen to industry luminaries speak at our Friday Speaker series, learn from a predominantly full-time faculty deeply entrenched in the business, and network with board members during twice-a-year meetings held at the Adcenter facilities.
Number of Students Up until this coming fall, the Adcenter accepted approximately 60 students each year, 20 in each track, resulting in a total of 120 students in the program (first and second year). This year, we've increased our acceptance to 25 students into the three original tracks, and beginning this fall have accepted five students into our new Creative Media track.
Key Faculty and Board Full-Time faculty: Rick Boyko, managing director, professor, creative; Tim Chumley, assistant professor, Computer Studies, TV and Documentary Production; Coz Cotzias, associate professor, copywriting; Peter Coughter. manager of executive series and adjunct professor, Presentation Skills; Mark Fenske, associate professor, creative; Cabell Harris, associate professor, art direction; Charlie Kouns, associate professor, Strategy. Adjunct Faculty: Judd Burnette, adjunct professor, Technology (Earle Palmer Brown, The Martin Agency); Don Just, adjunct professor, Business (The Martin Agency, Just Partners, Work); Stacy Thomas, adjunct professor, Strategy (Arnika, The Martin Agency); Katherine Wintsch, adjunct professor, Strategy (Y&R/Geneva, The Martin Agency); Beth Saunders, adjunct professor, Media, (The Martin Agency, Finnegan & Agee, Image Impact); Peter Wood, adjunct professor, creative (Ogilvy & Mather/N.Y., Euro RSCG, The Martin Agency). Board of Directors: Andy Berlin, co-CEO, Berlin Cameron & Partners/Red Cell; Rick Boyko, managing director and professor, VCU Adcenter; Alison Burns, president, HeadF1rst Consulting; Tom Carroll, president of the americas, TBWA/Chiat/Day; Brian Collins, ECD, Ogilvy Brand Integration Group; Diane Cook-Tench, director emeritus, VCU Adcenter; Earl Cox, SVP, director of strategic planning; Flinn Dallis, SVP. director of creative operations; David Droga, chairman, Publicis; Pam El, VP marketing, State Farm Insurance Companies; Jim Ferguson, chairman/CCO, Temerlin McClain; Geoffrey Frost, VP global marketing communications, Motorola; Bob Greenberg, chairman, CEO and CCO, R/GA; Mike Hughes, president/CD, The Martin Agency; Andrew Jaffe, Compass Consulting; Jon Kamen, chairman/CEO,; Mitch Kanner, The Firm; Paul Lavoie, president/CD, Taxi; Esther Lee, SVP/CCO, Coca Cola; Toni Lee, Partner, TL Communications; Dennis Manarchy, president, Manarchy Films; Marcio Moreira, vice chairman, McCann-Erickson World Group; Kelly O'Keefe, CEO, Emergence; Kevin Proudfoot, ACD, Wieden + Kennedy; Sir Ken Robinson, senior advisor to the president, Education, J. Paul Getty Trust; Bob Scarpelli, CCO, DDB/U.S., chairman, DDB/Chicago; Joe Sciarrotta, ECD, Ogilvy & Mather/Chicago; Pam Scott, founder, the Curious Company; Jerry Shereshewsky, ambassador plenipotentiary to Madison Avenue, Yahoo!; Jon Steel, vice chairman, Berlin Cameron & Partners/Red Cell; Elizabeth Talerman, CEO, Talerman + Partners; Mark Tutssel, vice chairman/deputy CCO, Leo Burnett U.S.; David Verklin, CEO, Carat North America; Mark Waits, partner, Mother/London. VCU Advisory Board: Lee Clow, CCO of North America, TBWA/Chiat/Day; Phil Dusenberry, former chairman, BBDO/N.Y.; Neil French, WPP; Jeff Goodby, co-chairman and CD, Goodby Silverstein & Partners; John Hegarty, Chairman, Bartle Bogle Hegarty; Bill Westbrook, entrepreneur, Irvington, Va.; Dan Wieden, president/CD, Wieden + Kennedy.
Placement Rate We have not found it necessary to provide a formal job placement program for our students, but have instead focused on giving students numerous networking opportunities which result in jobs following graduation. Just following graduation, the Adcenter holds a recruiter session in which representatives from agencies around the country attend to review student portfolios and conduct interviews with recent graduates. These sessions often result in job interviews, offers, or at least an opportunity for recruiters to talk with our students and see their work -- a valuable networking tool. Most importantly, the school provides its students the opportunity to build portfolios that reflect strong strategic insights and creative thinking. With top-notch portfolios, a myriad of networking opportunities, and a great reputation in the industry, close to 90 percent of our graduates have secured jobs within eight months of graduation. Almost half of our most recent graduates have already found jobs at agencies such as Butler Shine and Stern, Arnold, Core, The Martin Agency, Crispin Porter + Bogusky, Modernista!, Goodby Silverstein & Partners, Venables Bell & Partners, and J. Walter Thompson/London.
Approach/Philosophy In response to the changing landscape of the industry, the new mission of the VCU Adcenter is to train tomorrow's industry leaders to create advertising ideas that stretch past traditional methods and incorporate all types of media to best solve communications problems. We stress a total understanding of all aspects of the business of advertising -- we are not solely a portfolio school. All students work closely with those in other tracks under the guidance of faculty CDs so that art directors and writers think strategically, and media and strategy students fully understand the creative process. We believe the best creative and strategic team consists of a writer, art director, strategic planner, and now a media person. What is an ad? That's the question that VCU Adcenter spends two years preparing its graduate students to answer. An ad can no longer be considered just television, print, radio, outdoor, and direct mail. Today an ad is any form of communication that comes in contact with the consumer Tomorrow's ad makers must understand this and be able to not only create ads, but also create ideas that stretch past conventional media. The goal of the VCU Adcenter is to become the "Harvard of Advertising." To achieve this, it is incumbent on the Adcenter that it remains un-aligned with any one agency, but instead looks to the whole industry for support. With that support we can continue to attract accomplished full-time faculty who will produce a constant source of talent for the entire industry: Students in every track who are skilled idea generators, capable and prepared to work in an increasingly integrated business.
How has the school and its courses adapted to meet the changing needs of the industry? The VCU Adcenter is an experiment into the future -- a reflection of what the industry is becoming. Our faculty takes students on a two-year journey, nurturing a love of invention and fresh ideas, and of looking at new ways to solve business problems. Our curriculum highlights topics not covered at other schools: ethics, the business of advertising, concept development, nontraditional campaigns, and presentation skills. To prepare for the changing definition of advertising, we have introduced a new track called Creative Media which will teach students to look for new venues to best communicate with clients. The VCU Adcenter has worked hard to attract minority and international students in each track of study. The Adcenter board has a diversity committee which looks at ways to reach women, minority and international students, and talk with them about careers in advertising. On average over its eight-years, about 12 percent of Adcenter students have been international, while close to 15 percent have been minorities.
Alumni honor roll Cindy Casares, Scott Cooney, Kevin Proudfoot, Shameka Brown Barbosa, Steve McElligott, Sean Vij, Matt Stein, Adrian Hilton, Steve Yee, Mark Peters, Ron Villacarillo, Mary Carole Jorgensen, Alison Farley, Britton Taylor.

Founded 1979
Programs offered Design and Art Direction; Advertising Art Direction; Design and Media Architecture; Copywriting; Photography; and Illustration Degree/Diploma offered: Certificate. (Most students enrolling at Portfolio Center already have a four year undergraduate degree from a liberal arts college or university.)
Curriculum Experimental Advertising and Branding; Brand Communications III; Brand Integration; Behavior Analysis; Systems and Information Design; Retail Branding; Improvisation; Experimental Advertising and Branding; Modernism, History and Criticism; Brand Communications; Message and Content.
Number of students 300
Advisory Board Dan Morales, CD/VP, Cliff Freeman & Partners/N.Y.; Phyllis Aragaki, principal/ ECD, Desgrippes Gobe/N.Y.; Dan Monroe, senior writer, Slaughter Hanson Advertising/Birmingham; Jock McDonald, principal, Jock McDonald Film; Luke Sullivan, SVP, GCD, GSD&M/Austin; Scott Orazem, director of product & communication, Hallmark/Kansas City; David Butler, VP, The Coca-Cola Company; Ken Carbone, principal, Carbone Smolan Agency/N.Y.; Christian Dubuque-Strenz, director of recruitment, Abercrombie & Fitch/N.Y.; Craig Frazier, principal, Craig Frazier Illustration Studio/San Francisco; Andrew Keller, VP/CD, Crispin Porter + Bogusky/Miami; Steff Geissbuhler, principal, Chermayeff & Geismar/N.Y.; Roz Goldfarb, president, Roz Goldfarb & Associates Executive Recruiters/N.Y.; Jamie Koval, partner, VSA Partners/Chicago; Chris Martin, president, EM2 Design/Atlanta; Janou Pakter, principal, Janou Pakter/N.Y.; Wade Paschall, senior writer, CORE, St. Louis; Kerrie Powell, associate partner, Pentagram/N.Y.; Greg Samata, CD, partner, Samata/Mason/Chicago; David Schimmel, principal, AND Partners/N.Y. ; Todd Simmons, principal, State Studio/N.Y.; Gael Towey, CD, Martha Stewart Living/N.Y.; James Victore, James Victore, Inc./N.Y.; Robert Wong, designer, Colorado Springs; David Weist, CD, Arnold Worldwide.
Approach/Philosophy For twenty-five years, Portfolio Center has provided a staging for designers, art directors, copywriters, photographers, illustrators, artists, critics, architects, environmentalists, social advocates, animators, filmmakers, writers and poets to find their voice and learn how to share it. It is the preeminent school for design, advertising, and the communication arts in the United States. The work of our students and graduates is in the public eye every day, changing the way we all live and work, from the restaurants we frequent to the voting booths, from the computer we work at to the airline we fly on, from the books or magazines we read to the advertisement of our favorite products on television. Portfolio Center students and graduates define innovation in occupations that showcase strategic opportunities for business that both "wow" and "delight" as they create and affect just about every new man-made thing bought, used, or seen.

Founded in 1979, it is the first and oldest school of its kind. It is also the most progressive -- respecting tradition yet constantly implementing the changes necessary to stay ahead of an industry that is driven by cultural shifts and technological innovation. Portfolio Center, where all types of creatives are brought into a highly collaborative environment and taught by the best working professionals, ones not isolated from the world, has served as the paradigm for many schools over the past quarter of a century.

All the programs at Portfolio Center are supplemented by cross arrangements and efficient use of educational resources that can offer a fuller relationship between industry and education. Our students are encouraged to develop relationships with design, advertising, and interactive agencies, as well as many corporations. Internships and mentor programs are also invaluable resources.

Additionally, influential creatives come each week from all over the world to address or do workshops for the collective student body. They are designers, art directors, CDs, futurists, writers, critics, photographers, illustrators, and artists working in all media. Being exposed to these presentations gives students an overview of the industry and their places in it.

How has the school and its courses adapted to meet the changing needs of the industry? These days, branding is at the forefront of every industry, and the creation, re-creation, and maintenance of brands is at the core of design and advertising. Today's student needs an extremely comprehensive education, which emphasizes the process, especially as it applies to branding; graduates should move easily between the various media, including Internet, radio, TV, and promotional work. And collaboration is key. The ability to partner on projects and the capability to communicate with all kinds of creative people are important qualities, growing more important by the minute. At Portfolio Center, we anticipated these trends long ago, and we've evolved our curriculum to prepare students to speak the global language -- concepts strong enough to be universal -- and how to visualize and create them. Whatever the particular discipline, students are trained to look at the big branding picture. Everyone is involved in it: designers, art directors, writers, photographers, and illustrators.

Portfolio Center students are also taught how communication ideas merge with communication strategy across every medium, including, but not limited to, advertising, magazine and publication design, book design, information and systems design, media architecture, general exhibition design, screen based media, corporate and brand identity, environmental design, product design, web design, promotional design, architecture/urban retail planning, licensing, brand strategy, writing for design and advertising, and strategic planning.

We define the concentrations but sweep them broadly under the umbrella of brand communication. The new cross-media approach is redefining education. Students acquire numerous and diverse skill sets, which then allow them to offer solutions and shape leadership. Beyond the actual work itself, graduates are prepared to make presentations, manage projects and other people, understand and communicate business strategies, and work effectively in highly creative teams.

Most important, though, the size of the program allows for individual attention and the nurturing of each student's particular talents and strengths in an environment that promotes individual expression and experimentation. We frame an education where choice is confirmed by opportunity. Students are taught that the dimension of their ideas and studies will be manifested in a purposeful existence. We inspire and expect our graduates to take responsibility for the time in which they live and to make a unique, lasting contribution to the world. Each program at Portfolio Center is designed to work in conjunction with the others in an intimate atmosphere that fosters the spirit of collaboration, where every type of creative is accessible to all.

Placement Rate 90% within three months; 100% within a year.
Alumni Honor Roll David Weist, Arnold Worldwide; Andrew Keller, Crispin Porter + Bogusky; Mike Towell, BBDO/N.Y.; Jayanta Jenkins, Wieden + Kennedy; Adam Stringer, Lippincott Mercer, N.Y.

BRAINCO, Minneapolis
Founded 1994
Programs Offered Art Direction, Graphic Design, Promotional Design, Copywriting, Promotional Writing, Interactive Design, Interactive Writing, Interactive Account Management, Account Management, Account Planning, Media Planning, and Branding.
Degree/Diploma offered Certificate
Key Classes Ad Strategy and Concepts, Consumer Behavior and Branding, Layout and Design, Alternate Media, Team Concepts, Integrated Campaigns, Logos, Business Systems, Poster, POP, and Retail Signage, Packaging, Creative Writing
Number of Students Just under 110.
Key Faculty Advertising CD Jay Walsh and design CD Bob Murphy. We have a teaching pool of over 75 working professionals
Approach/Philosophy We're not the biggest school, or the richest or the oldest. We don't send our kids on global adventures. We're not the most academic. We're not owned by Mega School inc. We're not an appendage of an ad agency. We're not a get-a-portfolio-while-you-wait school. We're just Brainco, a humble little school where nine different disciplines come together to work as they should in the real world. Copywriters working with interactive designers, art directors sharing ideas with account planners. Our students are trained by some of the most award-winning instructors in one of the most creative cities in the country. Some schools pride themselves on being creative. Other schools pride themselves on being smart. We'd like to think, as our slogan would indicate, that Brainco is a Smart. Creative. School.
How has the school changed and adapted? We consistently meet to review our curriculum and add or delete courses as necessary. The concept of integration has moved past the buzzword stage and, with the advent of new technology, it's scope is constantly growing. We are expecting to continue to make some dramatic changes as the industry continues to demand graduates with understanding beyond their core disciplines.
Placement Rate 98%
Alumni honor roll Tiger Porter, Fallon Worldwide; Susan Young and James Edin, Kirshenbaum Bond & Partners; Nick Sonderup, MTV; Ryan Thiesen, McKinney + Silver; Matt Bottkol, Foote Cone & Belding.

Founded 1995
Programs offered Art Direction, Copywriting, Design (including illustration), Photography, Web-Design and an emphasis on all the new media that advertisers are exploring with their agencies and studios.
Degree/Diploma offered We are accredited and offer a diploma and a great portfolio.
Curriculum This is always being upgraded to fit the current or even future hiring trends.
Number of students About 200.
Key Faculty Norm Grey, ECD; Dan Balser, advertising department head; Ron Moore, design department head; Greg Strelecki, photography department head; Sylvia Gaffney, senior design instructor; Ted Nelson, senior instructor, CD; Chris Schlegel, senior instructor, CD; Rich Wakefield, CD, West Wayne; Earl Keister, CD, West Wayne; Carlos Ricque, CD, West Wayne; Jeff Nixon, CD, BBDO; Mark Cohen, CD, Wit; Brian Locascio, ACD, Fitzgerald; Callie Bybee, ACD, Cole Henderson Drake; Scott Banks, CD, Banks Albers Design; Wally Stoneman, ACD, ComGroup; Don Grant, ACD, ComGroup; Derek Ogilvie, CD. Board of Directors: Michael Ash, Creative Management/N.Y.; David Baldwin, CD, McKinney Silver; Debbie Bougdanos, SVP, director, Creative Recruitment, Leo Burnett/Chicago; Bart Cleveland, CD, Sawyer Riley Compton/Atlanta; Nick Cohen, CD, Mad Dogs & Englishmen/San Francisco; Flinn Dallis, SVP, director of creative operations, Leo Burnett/Chicago; Chris Davis, Chris Davis Photography/Atlanta; Mark Fenske, CD, the Fenske Experiment/Richmond; Bill Grant, CD, Grant Design Collaborative/Canton; Steve Hellerstein, Hellerstein Studio/N.Y.; Sally Hogshead, CD, Hogshead/Venice; Dave Holloway, senior writer, Euro RSCG/N.Y.; Ron Huey, CD, Huey Paprocki/Atlanta; Bryan Jessee, CD, McGarrah Jessee/Austin; Greg Manchess, illustrator; Deanne McLean, SVP, creative recruiter, DDB/Chicago; Dick Mitchell, CD, RBM&M/Dallas; Jim Mountjoy, CD, Loeffler Ketchum Mountjoy/Charlotte; Rick Myers, principal, Talent Zoo/Atlanta; Minsoo Pak, CD, Studiocom/Marietta; Stan Richards, CD, The Richards Group/Dallas; Matt Rollins, CD, Iconologic/Atlanta; Michael Wilde, director, Wilde Films/San Francisco; Kevin Ames, Ames Photographic Illustration/Atlanta.
Approach/Philosophy Our approach is to offer the student the best possible individual attention we can. Most of our students come from the academic "institutions" in which the student has to conform to get the information they need. Studios and ad agencies are traditionally non-conformist. Individuality is the very thing that makes one successful in this business. So we try to stress one-on-one attention as much as possible. "Nice" is a big one here. No one wants or likes people who are not nice. So we stress being as nice as possible. Who defines nice? It's in the soul of the beholder (employer). But we try hard to make sure that each person who leaves here, as a grad, or before, knows that as good as they might be, they're not LeBron James or Ian Manning or Britney Spears. That before they can become "stars" they have to rock. And if they do become celebrities, not to take it personally. Notable aspects: The work our kids do in school is impressive. Like most schools. What's really impressive is the work our kids do after school. They move products and win awards for clients such as VW, Nike, Bud, The Mini, Ikea, Pepsi, Coke, Harley-Davison, Truth, Harley Davidson, Adidas, The New York Times, Got Milk? etc. Here and on every continent that has clients on it. Our students and grads win national and international awards in school and after. Our grads won the Best of Show at Cannes three out of the last four years. Our students have won the coveted Patrick Kelley Scholarship offered by The One Club and Euro/RSCG three times. And many have won minority scholarships sponsored by the Four As, and individual ad agencies. Our kids have won Gold, Silver, Bronze, Merits and Best of Show from The One Show, the Andy's, the British Designers And Art Directors, The Athena's, The Addys to name a few. When they get out of here, they maintain that level of performance in the real world. In last year's One Show Annual, our "professionals" totaled 133 mentions. Awards aren't everything and they're certainly not the only thing. But they are a yardstick of the effectiveness of The Creative Circus program. Many of our graduates take internships during school and after graduating. We have a large list of national and international mentors. These kind and generous creative persons take on a student and mentor them while they are busy at school building their portfolios. They counsel them on their work, job search and even personal matters, very much like an older, more experienced friend ...or sibling. We have no formal affiliations with any one agency or studio. But the University of Florida offers their students the opportunity to spend a quarter away in beautiful downtown Atlanta at The Creative Circus, as opposed to The Sorbonne or Oxford or schools like that. As you saw from the list of our Board of Advisors, many of the industry's top people contribute to our students' educations.
How has the school and its courses adapted to meet the changing needs of the industry? The number one thing we're doing is working our collective butts off to stay on top of industry trends. It's like fighting terrorists. You have to keep your intelligence on constant alert. Every day there's a new development in advertising. Media no longer looks like media. Aside from vastly changing viewing, reading and listening habits that have destroyed the old model, there's product placement, advertainment, brand buzz, guerrilla, environmental, ambient media, PR and brand architecture/building. Those are just a few of the forms of the new advertising that even have names. New forms are being created while you're reading this.

Advertising isn't necessarily even an ad anymore. Clients are trying to protect their turf or find new markets without ever doing an ad ... as we used to know them. United introduced its low-fare airline, named Ted, by sending flowers to people. Some even in hospitals, from Ted. "Who the hell is Ted?" In some cases it backfired because some were annoyed to learn they'd been advertised to. A couple on the street ask you to take their picture with their camera and engage you in a conversation about the camera. You find out, again, you're in an "ad". Again, some people get ticked off. We're teaching all about this while we wait for the industry that will hire our grads to figure out where advertising and its clients are going to go. "Under The Radar", "The Death Of Advertising...", books and articles in AdAge, AdWeek, BrandWeek, MarketingWeek,, every trade pub and every consumer pub are "recommended" reading. Reading EVERYTHING is recommended. Not just stuff that pertains to the student's age group and demographics. And not just creative pubs. Any and everything that educates them about our almost hourly, even minutely (a new word that didn't exist a second ago) changing culture.

Our Board of Advisors advise us so we're able to give our students the information they need to know, not just get the job but to be able to keep the job. And not just to survive but to thrive in the New Creative/Media Revolution. We send questionnaires to the industry every year, to the point of being a huge pain in the neck. But we have to know what the "end user" of our school needs so our kids can supply it. We have visiting faculty and lecturers address the whole school or classes on an almost constant basis. Most visits are planned. Some are unexpected drop-ins. So we and our students and their teachers are pretty much up to date. And sometimes even ahead.

Placement rate We have stayed at the 90% or better level since the beginning of The Circus. Often reaching 100%. That's correct. There are times when we haven't got an art director or writer or designer to send to an agency or studio that calls us looking to hire. All our grads at those times are all on staff or happily freelancing. Photographers and Illustrators generally are in business for themselves from day one. They assist or get their own assignments. Still, all our grads have work of some sort in the field they trained for.
Alumni honor roll Mike Byrne, CD, Wieden + Kennedy/Portland; Andy Carrigan, copywriter, Wieden + Kennedy/N.Y.; Amee Shah Carrigan, senior art director, BBH/N.Y.; Tim Guy, design director, VSA Partners/Chicago; Roger Hoard, copywriter, Strawberry Frog/Amsterdam; Dave Holloway, senior writer, Euros RSCG/N.Y.; Paul Keister: CD, Crispin Porter + Bogusky; Matt Peterson, CD, Principal, Creature/Seattle; Cal McAllister, CD, principal, Wexley School for Girls; Dan Morales, CD, Cliff Freeman Partners; Don Shelford, CD, Wieden + Kennedy/Amsterdam; Aaron Griffiths, CD interactive, Goodby Silverstein & Partners; Jonathan Cude, ACD, McKinney Silver; Jerry Underwood, senior art director, Publicis & Hal Riney.

Founded Miami Ad School was founded in 1993 by Ron and Pippa Seichrist; Minneapolis location 1999; San Francisco 2000; Sao Paulo 2002; Hamburg 2003
Programs offered Two-year portfolio programs in: Art Direction, Copywriting, Graphic Design, Fashion Photography and Editorial Design; 12-week program in Account Planning; one and a half year Masters Programs in: Art Direction, Copywriting; two and a half year Associate of Science degree programs in: Art Direction, Copywriting, Graphic Design, Fashion Photography and Editorial Design
Curriculum Brainstorming, Brands and Branding, Everything is Media, The Voice of Type, Ideas First, Video Storytelling, Improv/Standup Comedy, Web Design, Motion Graphics, Photo Visions, Publication Design, Design Influences, Visual Impact, Copy Skills, Intellectual Properties
Number of students The total enrollment for the five full time Miami Ad School locations is approximately 500.
Key Faculty Oliver Voss, chief creative officer, Jung von Matt, Hamburg; Alex Bogusky, ECD, Crispin Porter + Bogusky, Miami; Nick Strada, copywriter, Rainey Kelley Campbell Roalfe, London; Dylan Ingham, CD, StrawberryFrog, Amsterdam; Jose Molla, partner/CD, La Comunidad, Miami; Todd Grant, ACD, Goodby Silverstein & Partners, San Francisco; Russ Stark, copywriter, Fallon/Minneapolis; Glen Wachowiak, art director, Carmichael Lynch, Minneapolis; Claude Shade, senior art director, Goodby Silverstein & Partners, San Francisco; David Stevenson, president, Two by Four, Chicago; Donnell Johnson, copywriter, Spike DDB, N.Y.; Bonnie Lunt, president, Bonnie Lunt Management, N.Y.; Douglas Atkin, partner/strategic Officer, Merkley Newman Harty, N.Y.; Edward Cotton, planning director, Butler, Shine & Stern, San Francisco.
Approach/Philosophy Miami Ad School has five full-time schools. They are in Miami, Minneapolis, San Francisco, Hamburg (Germany) and Sao Paulo (Brazil). The faculty of each school are leading industry professionals from the city where the school is located. Instructors include creatives from Crispin Porter + Bogusky, Fallon, Goodby Silverstein & Partners, Jung von Matt, Leo Burnett, Cole McEvoy to name only a few. In addition the school flies in professionals from other cities around the world to guest speak or participate in the teacher-in-residence program. Students from the five Miami Ad School locations have the opportunity to spend the second year of the two year program studying and/or interning in up to four other locations where the school has "Quarter Away" programs. Students can choose up to four cities from the following list of eleven: Amsterdam, Chicago, Hamburg, London, Madrid, Miami, Minneapolis, New York, Prague, San Francisco and Sao Paulo. By the time the students graduate they have a truly global education. The school has furnished housing in each location, making city-to-city travel easy for the students. Miami Ad School students (from every location) have the opportunity to intern at agencies in the U.S., Europe and Latin America. A few of the participating agencies include BBDO, Cliff Freeman and Partners, Crispin Porter + Bogusky, DDB, Kirshenbaum Bond, J. Walter Thompson, Jung von Matt, Lapis, Leagas Delaney, Leo Burnett, Saatchi & Saatchi, SCPF, Strawberry Frog, Vidal Partnership and Y&R.

Our goal is to give our students a real world education in the advertising and design professions. However, the real world of advertising and design is in a dramatic period of change and transformation. To meet this challenge, our educational focus is on giving the students the tools and skills to first solve an advertising or design problem and then use the appropriate media for that solution. At the same time we must provide the students with a global perspective; it really is a small world after all.
How has the school and its courses adapted to meet the changing needs of the industry?
The curriculum is constantly evolving. It is developed from the input of industry professionals (designers, art directors, photographers and planners) all over the world and from the support of the creative staff of Crispin Porter + Bogusky.
Placement rate 98%
Alumni honor roll Bobby Applebee, art director, Fallon/Minneapolis; Mark Andeer, VP-GCD, BBDO/Minneapolis; Adam Fels, copywriter, Lowe/N.Y.; Donnell Johnson, copywriter, Spike DDB, N.Y.; Alexa Knight, account planner, BBH/N.Y.; Kevin Koller, art director, Crispin Porter + Bogusky, Miami; Thomas Kopecny, CD, Publicis/Prague; Scott MacMaster, account planner, TBWA/Chiat/Day/L.A.; Dawn McCarthy, ACD, Cliff Freeman & Partners, New York; Andreas Ordonez, CD, BBDO/Puerto Rico; Christopher Owens, planning director, The Richards Group/Dallas; Diedre Reed, CD, McCann-Erickson/L.A.

Founded 1947
Programs offered Advertising, Animation, Art Criticism and Writing, Art Education, Art Therapy, Cartooning, Computer Art, Film & Video, Fine Arts, Graphic Design, Illustration, Interior Design and Photography. Degree/Diploma offered: BFA, MFA, MAT in Art Education, MPS in Art Therapy. BFA in Advertising, Animation, Cartooning, Computer Art, Film & Video, Fine Arts, Graphic Design, Illustration, Interior Design, Photography and concentrations in Art Education and Art Therapy. MDA in Computer Art, Design, Fine Arts, Illustration as Visual Essay, and Photography and Related Media. Masters of Professional Studies in Art Therapy.
Curriculum The curriculum is broken down into two lines of study. The first are courses offered that focus on developing conceptual thinking in solving advertising problems. These required courses include the study of art direction, copywriting and design. They are offered over a three year period taken sequentially, beginning with Basic Advertising, then Advanced Advertising and culminating with the Advertising Portfolio class. Each year, students must pass a department review in order to continue their studies. The second line of study includes a wide range of elective classes that augment the first line of study. There is a particular emphasis on design that directly supports creative art direction. It should be pointed out that students must also be highly computer literate. Students can select from more than 30 different courses (each offered for two semesters). Course offerings include Advertising for Social Change, The Team Approach to Advertising, Filmmaking, Motion Graphics, History of Advertising, Visual Literacy, Graphic Design, Typographic Design, Website Design, Environmental Design, Poster Design, 3-D Design, Editorial Design, Branding, and technical courses in virtually every computer program.
Number of students The department has more than 700 majors in design and advertising with approximately 150 students majoring in advertising.
Key Faculty and Board Bob Giraldi, principal, 149Wooster; Jack Mariucci, former CD, DDB Worldwide; Sal DeVito, CD (Creative Director, DeVito Verdi); Alan Beaver, principal, Beaver/Reitzfeld; Jeffrey Metzner, president, Metzner Productions; Robert Reitzfeld, principal, Beaver/Reitzfeld; Adam Owett, Senior VP, Sony Music, Creative Services; Jeffrey Keyton, VP-design and off air creative, MTV; Paula Scher, Principal, Pentagram; Richard Wilde, chair, Advertising and Graphic Design Departments, School of Visual Arts.
Approach/Philosophy The department's philosophy is a combination of converging ideas that include: developing one's ability in the art of questioning, a strong emphasis on conceptual thinking supported by experimentation, culminating in a climate where risk taking can arise. These central ideas are supported by a working knowledge of art direction, graphic design, typographic design and computer literacy. Students who choose to study advertising at SVA explore the art of selling. The emphasis of the department is conceptually based. They develop ads that are critiqued by faculty and peers in the same way that clients review new work. As their education progresses, students begin to move from working on single ads to developing entire campaigns. By their senior year, they will have explored a wide array of disciplines, from art direction and copywriting, to typography, to producing TV commercials, culminating in a competitive portfolio.
Accreditation and affiliations include Commission on Higher Education of the Middle States, Association of Colleges and Schools, National Association of School of Art and Design (NASAD), Association of Independent Colleges of Art and Design (AICAD) and the International Association of Independent Schools for Art and Design (AIAS).
How has the school and its courses adapted to meet the changing needs of the industry?
The school thinks about change in a much different way than most institutions. On the one hand, while carefully identifying industry changes, the department updates its curriculum on a yearly basis to meet these very demands in both the creative and technical areas. Today, given the high level of design and typographic excellence an art director is responsible for, the department now offers in-depth advanced typographic and graphic design courses along with classes in website design, 360 degree advertising, branding and a motion graphics workshop. Also, every two years, the school updates the department's Digital Imaging Center with the latest technology. This years upgrades include: 150 stations, equipped with G5 computers, high-end digital cameras along with the most current software and a state of the art motion graphics facility. The aforementioned changes, while helpful to students in facilitating their entry into the field, the department believes that there are other issues that are of even greater importance. Besides developing a high level of conceptual ability, which is central to the student's development, what is also needed to sustain a meaningful career in today's demanding, downsized, overworked industry are the qualities of a 24/7 work ethic, uncompromising perseverance, and the ability to go the extra mile. In addressing these needs the department has created a virtual boot camp mentality by creating classes with overwhelming demands that are on the periphery of advertising. When students successfully complete these seemingly impossible demands, not only are they empowered, in the broader sense of the word, but the thinking here is that it creates adaptability toward other disciplines in an effort to meet the ever unfolding new frontiers that every new industry incarnation brings. For example, in one class titled "The Project", instructed by Bob Giraldi, students work on their own personal film for an entire year, being responsible for: the writing of the script, storyboarding, casting, location sites, directing of the film, shooting of the film, lighting, editing, etc. Given the fact that a student must carry a full load of classes, this additional class is nothing short of daunting. Another example, is a class titled "360 Degree Advertising", taught by Mike Campbell. In this class, students are responsible for creating concepts that are far-reaching and can be extended into various media including print, TV, website design and promotion. Still another class that tests the limits of student commitment is "Motion Graphics Workshop", taught by Jeffrey Metzner. In this class students have to master both the creative end and the technological side of this new discipline that includes expertise in Final Cut Pro and After Effects, as well as the digital video camera. Here the projects range from fifteen-seconds to five-minute digital video assignments that include TV commercials, experimental personal work and real life motion graphic projects. This year, IFC (Independent Film Channel) had SVA students create a series of station breaks based on the theme "Passion", which is synonymous with independent filmmakers. These spots encompass the wide executional range of this medium and will run throughout the year. In Kevin O'Callaghan's 3-D conceptual problem solving class the projects given are seemingly beyond the limits of possibility. One such project involved giving each student an actual defunct Yugo automobile to transform into a functional object, i.e. accordion, telephone, or barbecue. Since the students knew their completed Yugos were to be exhibited in Grand Central Terminal as well as throughout the United States and Canada, it increased the demand for excellence tenfold.
Placement rate Approximately 90%.
Alumni honor roll Tod Seisser, CD, Saatchi & Saatchi; Pete Favat, CD, Arnold Worldwide; Mike Campbell, CD, J. Walter Thompson; Eric King, CD, TBWA/Chiat/Day; Mark Schrunteh, Art Director, Goodby, Silverstein and Partners; Roger Camp, art director, Leagas Delaney; Vinny Tulley, CD, DeVito Verdi; Rob Carducci, Cliff Freeman & Partners; Tony Romeo, creative director, DDB/N.Y.; John Rea, CD, Euro RSCG MVBMS; Chris Turner, Leap Partnership Chicago; Aaron Eisenman and Abby Aron-Team, Merkley Newman Harty & Partners Mathew Ammirati, president, Amirrati; Lisa Rettig-Falcone, executive VP, Lowe Worldwide; Steve Landsberg, former CD, McCann-Erickson; Frank Anselmo and Jayson Atienza, art directors, BBDO/N.Y.; Andrew Christou and Sam Bayer have become commercials directors.

Founded 1930
Programs offered Advertising, Environmental, Film , Fine Art Media, Graphic Design, Illustration, Product Design and Transportation.
Degree/Diploma offered BFA, BS, MA and MFA
Curriculum Typography, Design Principles, Communication Design, Advertising Concepts, Basics of Film, Copy Concepts, Art Direction, Liberal Arts and Sciences: History of Advertising, Marketing, Principles of Visual Communications, History, Humanities and Sciences
Number of students 1400 total enrollment. 102 Advertising majors.
Key Advertising Faculty Vincent Ammodt, Steve Levit, Don McKinney, Chad Rea, Ellen Shakespeare, Arty Tan, Geoff McGann, Roland Young.
Approach/Philosophy The highest standards of craftsmanship, disciplinary expertise and technological skill continue as an important cornerstone of Art Center*s educational philosophy. While continuing to provide national and international interning experience, Art Center's key components of the degree programs include a special emphasis on linking studio coursework with skill-building courses and highly relevant liberal arts and sciences courses in writing, literature, philosophy, critical thinking, ethnography, history and science which directly relate to the interest and needs of future artists and designers.
How has the school and its courses adapted to meet the changing needs of the industry?
Transdisciplinary studios, many of which are corporately sponsored, brings together students from at least three majors to tackle projects that require a cross-fertilization of ideas and approaches. These studios, which resemble the working environments students will enter upon graduation, become collaborative laboratories for experimentation and innovation.
Placement rate 100% (5 years out).
Alumni honor roll Gary Goldsmith, Lowe Worldwide; Rick Boyko, formerly Ogilvy & Mather; Tracy Wong, WongDoody; Hal Curtis, Wieden + Kennedy; Tiffany Kosel, Crispen Porter + Bogusky; Robert Gaxiloa, FCB/Singapore; Karin Onsager, Goodby, Silverstein & Partners; Glen Dady, The Richards Group; Arty Tan, Ground Zero.

Founded The Department of Advertising was founded in 1974 in the College of Communication (though advertising has been taught at UT in Business or Journalism since 1914). The creative program within the department is named Texas Creative and began in 1978 under the guidance of Professor Isabella Cunningham and creative guru Leonard Ruben.
Programs Offered The department offers specialties in the areas of Creative, Media, Brand Planning, and Social Responsibility. Published research, new courses, and seminars grow from each area. The Public Relations Program is also part of Advertising; it has a separate curriculum plus some integration with advertising courses.
Degree/Diploma Offered Bachelors in Advertising, Masters in Advertising, PhD in Advertising. Texas Creative students are usually undergrads or Master's students with an emphasis in creative.
Curriculum Texas Creative core courses include Intro to Creativity, Creative Strategies, Creativity & American Culture, Account Planning, Advanced Account Planning, Portfolio I, Portfolio II, Portfolio III, Portfolio IV, Art Director's Seminar, Writing, Agency Creative Workshop, Creative Lecture Series, Brand Building & Team Building, Special Projects, Media Planning, Research, Statistics, Campaigns, Management and an assortment of classes from liberal arts and business.
Number of students 700 undergraduates, 190 Master's student, 28 PhD students. Of these, about 150 are Texas Creative students.
Key Faculty Deborah Morrison PhD/team leader, Glenn Griffin PhD, Sean Thompson MA, David Horridge. Department of Advertising faculty teach many courses influential to creatives, many of which are outside the core creative area. These professors include Terry Daughterty, Marina Choi, Jerome Williams, Meme Drumwright, Neal Burns, John Murphy, Gary Wilcox, Isabella Cunningham, Gene Kincaid, Lisa Dobias, John Leckenby, Jef Richards, Bill Smith, Carson Wagner, John Fortunato, Pat Stout, Gerry Henderson, Ron Anderson, Terry Hemeyer, Leeann Kahlor, WeiNa Lee.
Approach/Philosophy Texas Creative is about strong conceptual thinking and creative theory connected to strategy. This philosophy begins in the landmark courses required of all students in the program and then grown in portfolio courses. Important to this philosophy are these key components of our program. Strong strategy grows from understanding advertising principles, cultural perspective and creative process. Creative students take media, research and management. We want them to have 360-degree brains. The transition from skill-building to mastery happens over time. The 18-month journey of Texas Creative students gives them time to grow. While brilliant creative and strategy are important, Texas Creative faculty believe discussions of social responsibility and ethics should take place continually throughout the program. Peer mentoring and shared learning are vital to learning how to think and execute in this domain. The shared spaces and shared lives of creative students become keys for growing performance skills to a mastery level. Internships and study abroad opportunities grow experience and vision. It is the mix of theory and practice, writer and art director, strategy and execution, technology and humanity, ethics and innovation, professor and student that enables Texas Creative to produce creative students unlike any other university or professional program. The end result: each student earns a degree of authority offered by a world-class institution that prepares our graduate for a career, not just a first job.
How has the school and its courses adapted to meet the changing needs of the industry?
1. Critiques and assessment of work throughout each semester by industry leaders. Portfolio reviews at each learning level happen in December and May.
2. A network of friends and Texas Creative family who monitor, assess, poke, prod, review, and grow the work and curriculum.
3. Innovative curriculum and faculty: first courses in one-to-one interactive media in the county, first graduate classes studying advertising creative process, strong media research and planning program.
4. High profile corporations (Nokia and Apple, for example) and agencies (DDB, The Richards Group, GSD&M as examples) often contact Texas Creative for student participation in special projects, offering creative students real-world opportunities even before they've entered the real world. In many cases, these opportunities are transformed into classes that reproduce the agency environment.
5. Texas Creative provides dedicated creative space to its students, which includes studio and seminar space filled with industry-grade (and sometimes prototype) computers and digital production equipment.
Placement Rate In the past year, over 75% of Texas Creative grads have landed at agencies, nonprofit organizations or media suppliers within six months of graduation. Many freelance for the first year.
Alumni Honor Roll David Baldwin, ECD, McKinney + Silver; Tim Roper, CD Crispin Porter + Bogusky; Rachel Howald, CD, Y&R/New York; Greg Bell, co-founder, Venables, Bell & Partners; Kris Wixom & Alisa Sengel, partners, Goodby Silverstein & Partners; Dallas Itzen, CD, TBWA/Chiat/Day/N.Y.; Lisa Bennett, ECD, DDB/S.F.; Jesus Ramirez, ECD, Cartel Creativo, San Antonio; Doug Pedersen, art director, Loeffler Ketchum Mountjoy; Peter Rosch, copywriter, BBH/N.Y.; William Gelner, CD, BBH/N.Y.

WIEDEN + KENNEDY 12, Portland
Founded April 1, 2004
Programs offered
W+K 12 is an experiment disguised as an advertising school housed in Wieden + Kennedy's Portland headquarters. W+K 12 is a non-traditional advertising program. While the school hosts visiting instructors and advertising professionals, there is not a formal curriculum. W+K 12 currently has six active clients, and leads all account management, account planning, design, art direction, copywriting and creative direction for accounts.
Number of Students W+K 12 is comprised of 12 writers, art directors and strategic thinkers, who were selected in March 2004 from 2,500 applications.
Key Faculty W+K 12's creative director is Jelly Helm. Jelly started at Wieden + Kennedy in 1992 as an art director. Along the way, Jelly became a writer and creative director and went from the Portland office to Amsterdam and back again. In 1997, Jelly took a break from W+K to become a founding faculty member of the VCU Adcenter, a graduate program in advertising, the first of its kind. His writings on sustainability and advertising have appeared in Émigré, Communication Arts, PRINT and Adbusters. In 1999, Jelly was named to the advisory board for the United Nations Environmental Programme's Initiative on Sustainability and Advertising. In 2003, Jelly returned to Wieden + Kennedy to open W+K 12.
Advisory Council The council provides individual mentorship to students, and consultation and direction on W+K 12's professional work. Members include Alberto Ponte, copywriter; Dan Wieden, executive director; Dave Luhr, COO; Derek Barnes, copywriter; Hal Curtis, CD; James Selman, art director; Jeff Williams, art director; Matt Stein, art director; Ken Smith, account executive; Mike Byrne, CD; Mira Kaddoura, art director; Trish Adams, account director.
Alumni Board Bob Moore, Publicis; Charlotte Moore; Glenn Cole, John & Glenn; Jamie Barrett, Goodby, Silverstein & Partners; Janet Champ; Jeff Kling, MVBMS/N.Y.; Jerry Cronin; John Boiler, John & Glenn; Mark Barden; Mark Fenske, VCU Adcenter; Michael Prieve, Foote Cone & Belding/San Francisco; Stacy Wall, Epoch Films; Tom Blessington, TBWA/Chiat/Day/L.A.
Philosophy W+K 12 is a school. The students work on self-designed, self-guided projects under an advisor. 24 finalists were selected in February 2004 from about 2,500 applicants for the first year of W+K 12. The candidates were selected based on their demonstrated ability to think, write and design and on how well they told their story. The final 12 students were selected based on personal interviews. W+K 12 is also an agency. The 12 designers, writers and strategic thinkers collaborate on client projects under the guidance of a creative director. W+K 12, supported by the resources of Wieden + Kennedy, is responsible for providing all agency services for its own clients. W+K 12 is an experiment. W+K 12 will discover new and better ways to create together. We will serve as a laboratory for the advertising industry's best practices and newest thinking. We will help figure out what's next. W+K 12 operates in the long tradition of collaborative education, from the Bauhaus to Cranbrook to Taliesin. This professional experience provides the foundation for personal, experimental projects and theoretical development. The theoretical work informs and enriches the professional work.
W+K 12 ideas
1. Be here now.
2. Everything is an offer.
3. You can make a jellybean taste like popcorn.
4. Creativity comes out both ends.
5. Find people who make you better.
6. Don't act big.
7. Solve problems with ideas.
8. What is a brand? A good story.
9. Don't say it. Be it.
10. Advertising is a weapon. Careful where you point it.
11. Ask a lot of questions.
12. The work comes first.
13. Don't work this weekend.

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