C2A Juror Robin Milgrim: Exploring the Creative Mind

In the world of creative communication, few names stand out like Robin Milgrim. With a background in fashion and art, Robin has climbed the ranks of top agencies, making a lasting impact as an Art Director and Creative Director. Her work, praised by industry leaders like Graphis, Lüerzer’s Archive, and Adweek, showcases her talent for blending unique ideas with visual stories. Today, we dive into the mind of this accomplished professional, uncovering her thoughts as a juror for the Creative Communication Awards (C2A).

Interview with Robin Milgrim

1. Greetings, Robin. As a juror for the Creative Communication Awards (C2A) 2023, what specific criteria did you find most essential in evaluating submissions, and how did these align with the overall goals of the awards?

Robin Milgrim: The works that are easy to comprehend quickly, and above all innovative in some manner rise to the top. Even when aesthetic quality and craft are extraordinary, the function of storytelling and the delight of surprise that comes from something never seen before remains the gold standard.

2. Can you share a specific project or aspect of a submission that stood out to you and exemplified exceptional creativity in communication?

Robin Milgrim: Typography is fundamental to our work, yet I don’t recall many submissions this year that included original fonts. Other Matter, the project by graphic designer Hyunji Jun does this, as well as the The Caston Coffee product brand design by Yihuang Zhou and Yixuan Cao.

While the approach to each project is notably different, both demonstrate keen sensibility of just how branding, specifically type-marks, can not only make a product distinctive, but just how the artistic nuance of type sets brand tone by cueing culture.

Bridging cultures in through graphic design requires insight of relevant artistic and cultural nuance. We see so many impressive entries in the C2A show, and it’s those who connect the cultural dots in a such a way to connect with audiences that truly breakthrough.

3. In your opinion, how did the entries this year reflect current trends and shifts in the communication landscape, and were there any surprising or noteworthy observations?

Robin Milgrim: We see many international entries in C2A. As I am based in the US it’s always interesting to see familiar trends that originated stateside, along with the trends and values of other cultures. I’ve observed a highly refined and often preciously detailed graphic approach from Asia, which reflects the rich history of Asian art. While American and British sensibilities, and those of Hollywood, clearly influence the tone and storytelling in commercials from around the world. Notably, there’s a trend towards more daringly dramatic display typography in both word marks and headlines that challenge traditional readability standards. I personally love this trend…it feels fresh!

4. Being part of the judging process involves a deep dive into diverse creative works. What challenges did you face in evaluating the submissions, and how did you overcome them to ensure a fair and comprehensive assessment?

Robin Milgrim: Being in the position to judge such esteemed works is an honor. As a designer/AD myself, I understand exactly how much effort goes into each piece, each one deserving measured consideration.

With so much great work, it’s important to be self-aware in order to avoid personal bias. With this in mind, first I’ll do a quick overview of ALL works in ALL categories to see what I recall as simply memorable. I consider this part of the judging process to be akin to the general attention span of most audiences, reflecting how we actually consume media. Then I’ll go back and review each piece by category a few times, measuring them against the standards set by C2A and with a comparative analysis. Works that are both innovative and impactful rise to the top, regardless of media, audience.

5. Communication is tied to storytelling. Can you share a memorable story or narrative from the submissions that left a lasting impression on you and embodied the essence of effective communication?

Robin Milgrim: The 3D animation All the Worlds a Stage by Art Center College of Design student Lingou Li stands out as a great example of conceptual storytelling. The idea comes through in mere seconds without the use of words. As communication professionals, storytelling is at the heart of everything we do. Mastering such a visual approach without dialog or voiceover is a creative superpower that can move mountains.

6. Outside of your role as a C2A juror, could you tell us about a current project or work you’re involved in, and is there something specific you’d like to share with our audience?

Robin Milgrim: Thanks for asking. I’m developing a lifestyle brand. It’s in development and can’t speak about it!

7. As a seasoned professional, how do you see the role of awards like C2A in shaping and influencing industry standards and expectations in the field of creative communication?

Robin Milgrim: There’s plenty of room for improvement in our communication standards. Award shows help push the bar, and unite an international community who strive for something greater.

A Glimpse into the Visionary World of Robin Milgrim

As we wrap up this exclusive interview, it’s evident that Robin Milgrim is not just a designer; she’s a storyteller, a trendsetter, and a guardian of innovation in the creative world. From her insights as a C2A juror to the exciting mystery of her upcoming lifestyle brand, Robin continues to inspire the industry with her unique blend of creativity and strategy. Stay tuned for more from the visionary mind of Robin Milgrim.

Robin’s Project: “TANLINES”
CD: Arnie DiGeorge
Art Director/Designer: Robin Milgrim
Copywriter: Christian Durrett
Photographers: Bob Stevens
Client: Las Vegas Convention and Visitors Authority
Agency: R&R Partners

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More about Robin Milgrim:

Robin Milgrim – C2A Juror

Robin – Design x Art Direction:

House of Robin

Other C2A Jurors:

C2A Jury Board