Autor: Andre Vlašić
Today we’re speaking with two standout creatives from Guatemala whose work has quietly but powerfully caught our attention. Lukas Calderón, General Creative Director, and Daniel Búcaro, Senior Creative, lead the charge at DDB Centro, an agency nestled in the heart of Central America, producing ideas with truly global resonance.
You may not have heard their names (yet), but you’ve probably seen their work – like a fast-food campaign that turned fried chicken into a ritual of national identity, or a Corona bottle ingeniously improved to measure the time until sunset using nothing but your fingers and a little ancient wisdom.
In a world obsessed with tech and timelines, Lukas and Daniel remind us that creativity still thrives in simplicity, in cultural memory, and in moments that make us feel something. We caught up with them to talk about their market, their mindset, and the magic of making big ideas in unexpected places.
Executive Creative Director – Lukas Calderón Giraldo
For many in Europe, the Guatemalan ad scene is a bit of a mystery. Can you paint a quick picture of what it’s like to work in your market, what makes it challenging, and what makes it creatively exciting?
Working in Guatemala is like creating where magic meets reality. It’s a country full of culture, contrasts, and stories – and that richness fuels our ideas. Sometimes budgets may be tight, but that only sharpens the thinking. We’re not always on the global radar, but when the spotlight finds us, our creativity speaks loud and clear.
How would you describe el taier DDB Centro’s creative philosophy in just three words, and how does that reflect the cultural pulse of Central America?
Contundent. Bold. Human. Global. We are an Emotional Advantage Agency. We move people, businesses, and cultures with ideas born in Guatemala but meant for the world.
How do clients in your region typically approach creativity? Are they risk-takers, or is part of your job also about building trust and stretching their comfort zone?
More and more, clients understand that being brave isn’t a luxury – it’s a strategy. Our work often starts by building trust, but it’s about proving that great ideas don’t just break molds – they drive results. Creativity isn’t a leap of faith; it’s a bet that pays off.
Central America is rarely in the spotlight globally. Does that free you to be bolder, or do you find you have to work harder to prove your ideas deserve attention?
I’m not sure if Guatemala is on the radar or not – but if it isn’t, then people are missing out on a wave of fresh, talented, and powerful ideas. We need to open our eyes and look toward new horizons to be truly surprised – the same goes for ideas.
How do you balance emotion and simplicity with brand needs and KPIs, especially when you’re creating something physical, like a redesigned bottle?
Emotion and simplicity aren’t the enemies of KPIs – they’re their best allies. In Suntimer, using the bottle to measure sunlight was simple and emotional, but also deeply functional: it revalued the packaging, extended the consumption ritual, and emotionally connected with Corona’s DNA.
Pollo Granjero’s campaign achieved global reach without a usual huge media budget. What does this teach us about the power of organic engagement and the role of creativity in driving business results?
That a strong idea beats a strong budget. If people participate out of genuine interest and not just incentive, you’ve already won. It’s a Chicken World didn’t go viral by chance – it worked because it found a universal insight through a local and clever execution.
In the Pollo Granjero’s campaign, you managed to elevate a value-driven QSR brand into a cultural icon. What lessons did that teach you about brand-building in a budget-conscious market?
That culture is worth more than media spend. When a brand inserts itself into the cultural conversation, it transcends its category. Pollo Granjero stopped talking about combos and started talking about imagination, geography, humor, and cravings. That’s real brand building.
When you’re pitching bold, creative ideas what’s your approach to getting clients on board, especially those who may be more traditional or cautious?
Empathy and evidence. We don’t pitch crazy – we pitch smart solutions with a smile. We show that creativity isn’t just beautiful, it’s strategic, useful, and profitable. And above all, that it’s worth trying at least once.
How do you measure success beyond the obvious KPIs? What signals do you look for to know an idea has truly connected with people?
When an idea sparks conversation. When it becomes a reference. When someone shares it without even knowing it was an ad – that’s when you know you connected. Success is when people take ownership of the idea and make it their own.
In small or developing markets, creativity often has to do more with less. How do you turn constraints (budget, time, reach) into creative fuel rather than limitations?
By thinking harder. It’s that simple. If we can’t do more, we must do better. Constraints sharpen creativity – they push us to be more precise, more resourceful, and more intentional with every decision.
El taier DDB Centro’s work seems to consistently humanize brands. Is that a deliberate long-term strategy, or just your personal creative philosophy showing through the briefs?
It’s part of who we are. Brands aren’t logos – they’re relationships. And we believe a brand that moves you is a brand that stays with you. To humanize is to remember that there’s always a person on the other side – not just a target.
Senior Creative – Daniel Búcaro
As far as we could see your work often merges creativity with life moments – sunsets, food rituals, timeless habits. Is that a reflection of Guatemalan life or a rebellion against the norms of fast, transactional advertising?
A bit of both. In Guatemala, everyday rituals are full of symbolism, and that’s fertile ground for creativity. But it’s also a response to the saturation of ads yelling “buy now.” I believe in ideas that feel lived-in, that take a breath, and make you smile because they understood something simple – and told it in a different way.
In the “It’s a Chicken World” campaign, you turned maps into menus, inviting people to find chicken-shaped countries and share them online. What inspired this idea, and how did it resonate with audiences globally?
It actually started with the hunger for a new idea. While browsing maps, I realized some streets in Guatemala formed the shape of a chicken leg. From there, it became a collective craving. The idea worked because it didn’t require language or brand knowledge. Just hunger… and a map.
The Suntimer campaign takes something ancient like measuring time with fingers, and makes it feel modern and magical. How did that idea come to life, and what made it feel like a Corona idea, not just a nice design hack?
The idea came from observing a very human ritual: raising a beer bottle toward the sun. We realized that with a small tweak, it could become a real tool to measure sunlight. It was simple, natural, and deeply Corona. No need for a manual – just a desire to enjoy the moment.
How involved was the product team in adapting the Corona bottle for Suntimer? Was there resistance or instant alignment when you pitched the idea?
It felt like magic. When we presented the idea, the team got it instantly. We weren’t changing the bottle – we were amplifying its meaning. That made everything flow naturally. Sometimes, when the idea is honest, the pieces just fall into place.
Both campaigns repurpose the familiar (maps and bottles) into something new and engaging. Is that a conscious strategy, and if so, why does that approach work so well?
A bit of both. I love finding the extraordinary in the ordinary. That’s where I think the magic of good ideas lives – not in creating new worlds, but revealing the one we already live in… from a different angle. If someone says, “how didn’t I see that before?” – you did your job right.
If creativity was a dish, what would it taste like in Guatemala, and what unexpected ingredient would you sneak into someone else’s?
It would taste like pepian. A dish that takes time to cook, just like good ideas. And when you taste it for the first time, it hits you – unexpected, intense, memorable. That’s what Guatemalan creativity is like: it simmers, then surprises. And the unexpected ingredient I’d sneak into someone else’s? A touch of humor. Because even the boldest insight gets better with a smile.
What’s the worst idea you’ve ever loved – and were heartbroken to kill?
I had this beautiful print ad ready. It was perfect – just in time to celebrate the Ballon d’Or winner. The problem? The player who was the face of the campaign didn’t actually win it. So yeah… let’s just say we were left looking a bit like clowns.
