Tanja BRAUNE

Art Buyer | BUREAU BRAUNE

Tanja started her career in 1990 at Springer & Jacoby - one of the most outstanding agencies for 30 years. As Head of Art Buying she and her team cared about all print campaigns for clients such as Mercedes-Benz/smart/Maybach, Lufthansa, Coca Cola, ebay, Telekom, IBM, IFAW, Unicef, Levi's, Maurice Lacroix, Bucherer, Olympus, Osram, Panasonic, Siemens, TUI...

In 2010 she founded Bureau Braune, Artbuying & Consulting and actively supports agencies like Serviceplan Hamburg, BBDO Berlin, thjnk ag, Freunde des Hauses, GGH MullonLowe, Meta Design, etc. for projects on their clients like f.e. BMW, Opel, smart, Volkswagen, Bahlsen, Nuk, Google, Metro, ING. Diba, Weleda, Die Zeit, Nintendo, Telekom, Douglas…

questionnaire

1.Please describe, in your own words, what your current job is and what work it entails.

Bureau Braune considers itself to be a quality gate for the budget-oriented implementation of creative ideas. That sounds a lot like business management text, but it really arises out of a genuine passion. I put a lot of heart, confidence and objectivity into my task of finding exactly the right flavour that will satisfy the specific need. Means: I look for the right creative partners that can create and produce tailor-made pieces of artwork for my clients. 

In my experience, it isn’t enough just to book the best specialists to get excellent results - the people also have to fit together! Only if everyone involved will enhance instead of block each other, is it possible to develop a creative process with extraordinary outcome.

This takes not just a keen sense of the zeitgeist, style and trends, it especially takes a lot of close professional contacts. Over the years I was able to personally meet a number of creative minds across the globe on the job. And every day, new talented people enter my circles.

What also distinguishes good art buying is the ability to get a deep understanding of the desired look. I’m often involved in campaign developments and new business projects at an early stage to support the creative teams in finding the right look and provide them with unique image materials that will contribute to the brand. Because that’s what good images should do: Reach, enchant and convince the target group, instead of just following the “dernier cri”.

2. How did you discover that the creative world is right for you? Was there a time in your life that you credit to this discovery? Which train of events did bring you to where you are today?

During art lessons in school I always loved those wonderful and famous artworks, paintings, artist and their bios, art history - but I never was able to do it to some extent such beautiful like they did! So, I decided to find a task that brings me super close to creative work and creative minds without being responsible for the final art work artisanal. 

3.In your constantly growing and expanding industry, how and where do you usually find inspiration to keep your work fresh, innovative and relevant?

On the street, traveling, good conversations, exhibitions, magazines, books, documentations, expos like Le Book, networking with very valued colleagues and partners, the world wide world - and web:0)

4.If you had to pick one piece of work or project that you are most proud of, especially for the creative work and innovation it required rather than its recognition or industry success, what would it be?

All elder projects where clients were brave enough to fully trust in creative people, their taste, sense and knowledge without any prior market researches, mostly giving very first jobs to completely newcomers fresh from school. 

5. Which creative disciplines do you commission most, and are most interested in seeing more of and why? Which of these disciplines are you most interested in seeing at CONNECTIONS? (ie photo, film, production, social, experiential, vr, cgi, animation etc)

Photography and illustration for car, food, children, people, travel.

 

jury

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