For Ro Otamendi, “Good Advertising Is Good Creative but Not All Good Creative Is Good Advertising”

Rodolfo Otamendi is a Venezuelan creative director and strategist based between Miami and New York. He comes from a brand strategy background and has led brand, digital, and influencer campaigns across tech, hospitality, and entertainment verticals.

PERSON

I’m a Type B+ person. I’m laid-back but anxious; I keep my apartment spotless, but my phone is never charged. I love to joke around, but I care a lot. One part wants to make things perfect; the other just wants to get it done and laugh through it.

I’m a very curious person, and I’ll try anything once. I try to find humour in most situations I’m in. We laugh so as not to cry. I think everyone has the ability to be and become more creative. Some people naturally tap into it more easily, but even then, it still takes work. You have to build the muscle.

I wouldn’t define myself as either an introvert or an extrovert. I love to be around people, but once that social battery dies, I *will* go dead in the eyes. I’m very social, but I need real alone time to make sense of things and come back with something to say.

When it comes to routine, I hate it but need it. I think there’s this idea that being creative means being spontaneous all the time, but for me, routine helps the ideas flow. It gives the chaos some structure. I also love to explore. Photography, cooking, movies, museums. I think seeking out creative work outside of your industry just makes you a stronger creative at work. The best ideas rarely come from looking at other ads.

PRODUCT

When it comes to assessing whether an idea or a piece of work is truly creative, my rule is: if I’d engage with it even if it weren’t an ad – or if I’d share it with a friend with no context – it’s probably strong. If you want to watch it despite it being an ad, that’s even better.

The more I’ve been in the industry, the more I’ve learned that good advertising is good creative but not all good creative is good advertising. You have to find the balance between good ideas and ideas that meet the objective you’re being briefed on. I think one of the most underrated things I’ve worked on is a campaign for Reddit Recap (their end-of-year compilation), where we mocked Spotify Wrapped. We first made a fake Spotify ad and then turned it into a Reddit ad. That made me chuckle.

The industry’s creative output is constantly evolving. One thing I’ve been thinking about a lot is how brands approach social. Some assume everything has to be lo-fi and ‘native’ – crooked text, phone footage, the whole thing. That can work, but not exclusively. Polished work can still break through if it’s actually good.

PROCESS

When it comes to my own process in starting a campaign or creative project, it usually starts with a messy team brainstorm – no decks, just a doc. The wilder the ideas, the better. We organise them later, but I think starting loose helps us land on something that feels fresh. A bad idea said out loud is usually how a good one gets its start.

The best tool I have found is talking to people outside the industry. If they don’t get it, that’s usually a sign it needs to be clearer – or better. I also have a Pinterest board, a TikTok folder, and an IG DM with myself. All full of references.

I'm all for collaboration. Some of my favourite projects have come from helping someone else’s idea come to life. I’m not precious about creative ownership as long as there’s mutual trust with the people I’m working with.

In advertising, sometimes you don’t have the luxury of being stuck. Which is kind of freeing in a way. You just have to push through and make the best version you can within the timeline. I’ve learned to be okay with that.

I think I’m good at synthesising and simplifying. If something feels too complicated or messy, I like to take a step back and check if the story still makes sense. I started out as a strategist, which probably plays a role. I think most creatives can relate to the fact that it’s hard to ever feel like it’s ‘done’. But in this industry, deadlines decide that for you. Having that ‘pencils down’ moment is helpful. When it comes to personal projects, it’s harder. But I’ve learned to put things out there and move on. Onwards and upwards or whatever.

PRESS

I was born in Venezuela and moved around a lot before landing where I am now. I’d like to think all that change made me more observant. My family was also a huge influence. You could throw a rock at a family function and hit a musician, actor, painter, or writer. It definitely pushed me to figure out what creativity looked like for me. (Spoiler: I didn’t become any of those things.)

I honed my craft by making a lot of bad stuff, looking at YouTube videos, taking writing classes, making less bad stuff, and so on. You keep showing up until your taste starts to match your output. I’m still working on it.

I tend to work well under pressure. Having no choice can be weirdly motivating. That said, I burn out fast if the chaos lasts too long. I do best with structure and a bit of flexibility.

My advice to clients and those looking to get the best out of the teams and agencies they work with is to be transparent about what you want. A lot of clients say they want something ‘bold’ or ‘different’, but the reality often doesn’t line up. It’s totally fine to want something specific – just say so early

Also: trust your agency. Be selective during the pitch, but once you’ve picked your team, let them do what you hired them to do.

Agencies can best facilitate creativity by making space for it. That means carving out time for creative thinking outside of briefs – and making sure other departments (account, strategy) are aligned in service of the work.

At the end of the day, the work is the product. Everything else should support that.