Cerise LECLERC

Art Director | ROSA PARIS

 

 

questionnaire

1.       What was your very first job? 

 

 After my studies in applied arts, I immediately started working in advertising at Young&Rubicam, first as an assistant artistic director, then artistic director.

 

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

 

  An art director in an ad agency usually works in partnership with a designer-editor, which is my case (my partner is Louise Mussot).

We work as a creative team on the design of advertising campaigns, films, print, digital, activations… As an artistic director, past the design, I take care of defining the visual universe of a campaign.

The work begins upstream with a reflection around the image of the brand to ultimately put our ideas into images with the most force and impact possible, but in respect of the spirit of the brand and its target. Then comes the time of production. Depending on the subject, I also take care to choose the photographers, illustrators or directors who will be best able to bring their gaze, their paw on the shaping of a project. And from there, I follow the project until its finalization: shooting, post-production, layout, followed by the execution, BAT…

 

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

 

I’ve always loved creation, one way or another. As a child, I spent my time creating all kinds of things: I wrote plays and made costumes and props for the stage. I made a whole bunch of strange machines out of salvage materials, raw art sculptures. I also loved the collages and painting that served as a great expressive let-out during my high school years.

As a child, I also had the chance to spend a lot of time on movie sets or advertising that no doubt gave me a taste for direction and image. I was fascinated by the work of decorating chefs, one of the jobs I regret most for not doing.

However, before I began my studies in applied arts, I was destined to be an anthropologist. At that time, artistic disciplines were part of my daily life, but I was afraid of losing their flavour, their freedom of expression, if they became a “job”. It is only after a degree in Anthropology that I decided to study applied arts, first with the idea of making interior decoration. Then, following an internship in an advertising agency, I got a taste for this clever mix of creation and very varied productions that advertising offers.

 

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

 

 The most important thing to keep fresh in this profession is above all not to self-censor on subjects. Don’t rush right into what you can be expected to do at first.

In general, a client refers to what he or she has already seen. However, we are not surprised with something already seen. We must therefore dare to take things backwards, to undermine customer demands to bring out unexpected creative directions. It is by exposing the marks that we can perceive their sensitive points on which there will often be more interesting and relevant things to tell.

But this requires a certain self-discipline not to be made easy, a lot of energy and tenacity, especially in a world where everything goes very fast and where time is always sorely lacking to pose itself in depth on the subjects.

 

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

 

If I had to choose a project for its creative and innovative aspect, I would choose a GRDF film to promote the green gas, The starting pot. https://www.youtube.com/watch?v=q2U4H2DQS3E

It is a film on which we worked with the director Nima Nourizadeh (Project X) which was made with little means and was little diffused. What is notable is not so much the finished object as such. It’s been a real tour de force to sell this film where we send a bunch of rich eccentrics totally disinterested in the health of our Earth in a rocket on another planet, while making green gas at home from organic waste, we keep taking care of our own. It wasn’t the initial briefing, and yet the client followed us.

 

6.       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).

 

The disciplines most likely to interest me in Connections are photography, film, production and post-production, illustration, animation, experiential, advertising, design.

jury

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