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Tag: Tom Robinson

  • Lulu Raghavan, Managing Director, Landor Mumbai Honored as 2020 AACSB Influential Leader

    Lulu Raghavan, Managing Director, Landor Mumbai Honored as 2020 AACSB Influential Leader

    MUMBAI:  Landor Mumbai announces that Lulu Raghavan is one of 25 business school graduates honored by AACSB International (AACSB)—the world’s largest business education alliance—as the 2020 Class of Influential Leaders. The annual challenge recognizes notable alumni from AACSB-accredited schools whose inspiring work serves as a model for the next generation of business leaders.

    Lulu Raghavan, nominated by SP Jain Institute of Management and Research currently serves as Managing Director, Landor Mumbai. Lulu is a leading authority on branding and design in India. Raghavan who has worked for Landor, a global branding and design consultancy for more than 19 years helped set up the Landor India office in 2008, which has consistently ranked at the top in Brand Equity’s Agency Reckoner. Raghavan is most proud of the culture and team she has nurtured. With industrywide leadership recognition, Raghavan was invited to judge the Cannes Lions Design Awards 2018 and serve on the Young Lions Jury 2018. In 2018, Raghavan received the John W. Kuykendall Award from her alma mater Davidson College in North Carolina, USA. She is passionate about equality and has been an active champion of women at work. In 2019, she was named one of the most influential women in India in media, advertising and marketing by IMPACT Magazine.

    For Raghavan, mental and physical well-being and their direct connection of productivity, creativity, and a balanced lifestyle are of paramount importance. Raghavan has also been a faculty member of WPP Maestro – a training and leadership program for high-potential individuals across WPP.

    Commenting on the accolade Lulu Raghavan, MD-Landor Mumbai said, “I am truly delighted and honoured to have been selected for this prestigious award. The combination of my undergraduate education at Davidson College in the US (a top ranking liberal arts school) and my post graduate business education at SPJIMR (one of the most prestigious business schools in India) was excellent preparation for a working life dedicated to management and leadership. My two years at SPJIMR were particularly influential in not only shaping my competencies but also strongly developing my character. SPJIMR’s emphasis on social sensitivity has had a lasting impact on me. I look forward to continuing to create business and social impact through my work at Landor by using the power of brand and design. I am proud to be a Global Indian.”

    Dr. Ranjan Banerjee, Dean- SPJIMR said, “It is always good to see our alumni getting recognised on a global stage. Lulu Raghavan led the team at Landor that worked on the new brand architecture for SPJIMR.

    Fittingly, she herself is an epitome of courage and heart, and combines a professional  flair for branding and client understanding, with a deep personal passion and engagement in social issues. She is a strong ambassador for the institute, and I am certain that she will win many more accolades in the years to come.” He added.

    “AACSB is honored to recognize Lulu Raghavan and applauds her achievements at Landor Mumbai as a leading example of business education as a force for good in the world,” said Tom Robinson, AACSB president and CEO. “The diversity of backgrounds, industries, and career paths of the 2020 Class of Influential Leaders demonstrates that AACSB-accredited schools are preparing graduates to succeed wherever their passions may take them.”

    Now in its fifth year, the Influential Leaders challenge has recognized more than 200 business school graduates for creating lasting impact in business and society. All honorees have earned an undergraduate, graduate, or doctoral degree from one of the more than 850 AACSB-accredited business schools worldwide. For more information on the Influential Leaders challenge, and to view a full list of honorees, visit aacsb.edu/influential-leaders.

  • KDY 2016: Handsome Frank on the business of creativity

    KDY 2016: Handsome Frank on the business of creativity

    JAIPUR: They were once in the mad corporate race, but opted out to discover the joy of working for themselves and the artistic freedom it brings. Since then, Tom Robinson and Jon Cockley have tried to give the same to the artist community cross the world — by bringing them under their banner of Handsome Frank, a UK based illustration agency.

    What Jon and Tom really do is represent close to 35 international illustrators, including the likes of Jean Jullien and Mallika Favre, and connect them to clients, and vice versa.

    Unlike any other job, Tom and Jon are required to understand each artist and their ways of expression to find a befitting job that respects the artist’s unique creative expression.

    Indiantelevision.com caught up with the dynamic duo during their visit to Jaipur for Kyoorius Designyatra 2016 and picked their brains on how they stay true the artists and still not compromise on business. In short, what it takes to keep the artists happy and the agency profitable. Excerpts from the conversation:

    Q1. How do you manage the business and keep it separate from the creative process so artists can only focus on their work?

    Tom:  There are four of us who take turns to handle things. At times one does the editorial and design, while another deals with the client.

    Jon: Apart from our varied skill sets, if the brief from the client is very technical, and requires animation and CGI, then Tom is more likely to pick it up.

    Q2. How involved are you in each of the projects?

    Tom: When we are picking an illustrator for a particular project, we keep an eye on the commercial appeal, making sure that the client is going to look at it positively, be it advertisement in print or a TV commercial. Once the project kicks off, our involvement varies quite a lot. Some artists are very hands on themselves, and we are comfortable just being copied on the mails with the clients.

    But there are illustrators who don’t want that at all. So we come forward and sort of act as a bridge between the client and the illustrator. It is about learning and respecting how each illustrator wants to work.

    Q3. They say it is hard to work with creative people like artists and illustrators. How do you change the perception?

    Jon: For me there is a big difference between an artist and an illustrator. An artist essentially creates for himself or herself and puts the art out to the world. An illustrator is hired to bring somebody else’s ideas to life. All illustrators we represent are very aware of this.

    Tom: Illustrators are also people and have emotions. They are not machines at the other end of the illustration process who just churn out work. You have to take into account people’s emotions. Some illustrators can get offended by feedback and a lot of clients write feedback in a very pragmatic and stale way that can come across as hurtful. That is when the professionalism comes in. Some learn the hard way that a negative feedback is sometimes for the better.

    Q4 .Have you worked with Indian clients/brands? Are you open to work in India?

    Jon: Yes, a couple of them, and we are open to accepting more work from here. When we started off, we thought we would only operate within the UK, but in the last five years we were surprised at how people from all over the world were reaching out to us, wanting to work with our illustrators. We have done work is Australia, South Korea, New Zealand, the US and across Europe. We judge a brief on things other than the geographical boundaries. We judge it on whether the project will be exciting or not. Obviously the timing and budgets do play a role for the artists.

    Q5. Do illustrators, especially independent ones, need help with marketing? Is marketing important to acquire good assignments?

    Jon: I agree that artists too need marketing but I don’t think they need an agent to do the job. A lot of them think they need an agent to find for them  work in the market. I think it’s the value of their work, built through their portfolio, which takes them through to the market and gets them more work. Good work will always get noticed.

    Tom: I doubt there are enough hours in a day for creative people to be business-like and do self promotion, especially when they are busy creating. To have a secondary voice spreading the word about their work is a huge help to them, I feel.

  • KDY 2016: Handsome Frank on the business of creativity

    KDY 2016: Handsome Frank on the business of creativity

    JAIPUR: They were once in the mad corporate race, but opted out to discover the joy of working for themselves and the artistic freedom it brings. Since then, Tom Robinson and Jon Cockley have tried to give the same to the artist community cross the world — by bringing them under their banner of Handsome Frank, a UK based illustration agency.

    What Jon and Tom really do is represent close to 35 international illustrators, including the likes of Jean Jullien and Mallika Favre, and connect them to clients, and vice versa.

    Unlike any other job, Tom and Jon are required to understand each artist and their ways of expression to find a befitting job that respects the artist’s unique creative expression.

    Indiantelevision.com caught up with the dynamic duo during their visit to Jaipur for Kyoorius Designyatra 2016 and picked their brains on how they stay true the artists and still not compromise on business. In short, what it takes to keep the artists happy and the agency profitable. Excerpts from the conversation:

    Q1. How do you manage the business and keep it separate from the creative process so artists can only focus on their work?

    Tom:  There are four of us who take turns to handle things. At times one does the editorial and design, while another deals with the client.

    Jon: Apart from our varied skill sets, if the brief from the client is very technical, and requires animation and CGI, then Tom is more likely to pick it up.

    Q2. How involved are you in each of the projects?

    Tom: When we are picking an illustrator for a particular project, we keep an eye on the commercial appeal, making sure that the client is going to look at it positively, be it advertisement in print or a TV commercial. Once the project kicks off, our involvement varies quite a lot. Some artists are very hands on themselves, and we are comfortable just being copied on the mails with the clients.

    But there are illustrators who don’t want that at all. So we come forward and sort of act as a bridge between the client and the illustrator. It is about learning and respecting how each illustrator wants to work.

    Q3. They say it is hard to work with creative people like artists and illustrators. How do you change the perception?

    Jon: For me there is a big difference between an artist and an illustrator. An artist essentially creates for himself or herself and puts the art out to the world. An illustrator is hired to bring somebody else’s ideas to life. All illustrators we represent are very aware of this.

    Tom: Illustrators are also people and have emotions. They are not machines at the other end of the illustration process who just churn out work. You have to take into account people’s emotions. Some illustrators can get offended by feedback and a lot of clients write feedback in a very pragmatic and stale way that can come across as hurtful. That is when the professionalism comes in. Some learn the hard way that a negative feedback is sometimes for the better.

    Q4 .Have you worked with Indian clients/brands? Are you open to work in India?

    Jon: Yes, a couple of them, and we are open to accepting more work from here. When we started off, we thought we would only operate within the UK, but in the last five years we were surprised at how people from all over the world were reaching out to us, wanting to work with our illustrators. We have done work is Australia, South Korea, New Zealand, the US and across Europe. We judge a brief on things other than the geographical boundaries. We judge it on whether the project will be exciting or not. Obviously the timing and budgets do play a role for the artists.

    Q5. Do illustrators, especially independent ones, need help with marketing? Is marketing important to acquire good assignments?

    Jon: I agree that artists too need marketing but I don’t think they need an agent to do the job. A lot of them think they need an agent to find for them  work in the market. I think it’s the value of their work, built through their portfolio, which takes them through to the market and gets them more work. Good work will always get noticed.

    Tom: I doubt there are enough hours in a day for creative people to be business-like and do self promotion, especially when they are busy creating. To have a secondary voice spreading the word about their work is a huge help to them, I feel.