13 September 2019
If you’ve ever sat through a long meeting debating the relative merits of the headline in concept #2 versus the color choice in #7 (or maybe with the design of concept #16?), then you’ve seen firsthand how approaching a marketing challenge from too many angles is basically like not approaching it at all. Everybody likes choice, but too many options at decision time often have the effect of leaving your brand team confused and your creative team demoralized. So how do we ensure we’re considering the best ideas without trying to execute all of them at once? Even more important, how to can you learn to ask for and expect only the top-drawer concepts—the top three, the mind-blowing two—rather than the entire pool of a dozen or more your team started with? It hinges first on a solid brief. By outlining the specific challenge and strategy, the creative team can zero in on the best, brightest solution from the beginning. There may be refinements along the way, but the surest way to get where you’re going is always knowing where you ultimately want to be from the start. Your creative team shares this responsibility. When they know and understand the market situation and the strategy you’ve set, you can challenge them to bring you the strongest ideas and best executions—the solutions you actually need. Trust the team’s expertise. At the end of the day, your creative team’s skills and experience are your most valuable assets. To get the most from your investment in them, you must first value their experience as much as their work—it’s the surest way to free them (even challenge and motivate them) to do their best work. Expect a focused presentation. How many concepts do you want in the meeting? The correct answer is the fewer the better. When the brief is on target, the creative product likely will be, too. Asking for too many second-tier ideas from the reject pile takes the focus away from stronger concepts—and makes it tough to execute any of the strong candidates at the highest level. Shouldn’t they have a back-up plan? Of course. And trust us, they’ve got one (likely more than one). But a word of caution … you really only want to see these under certain circumstances: The idea supporting the initial presentation misses the mark in a way that wasn’t anticipated in the brief. The secondary idea takes a completely different approach than the one they’re leading with. At the end of the day, it’s all about the process—the challenges your team has already navigated and solved, the tough (sometimes ruthless) creative decisions that have already occurred along the way. A strong creative team will have curated and selected only the best and most effective work long before it’s unveiled to you on presentation day.
28 August 2019
The ever-growing craft beer market—it’s a strange and unique animal. On the one hand, brewers have the ability to easily craft small batches of their barley bev of choice for a specific palate, flavor, style or season. More to the point, the masses are buying it. In passionate, perpetual quantity. On the other hand, this ease and interest have created an incredibly saturated market—a monster all its own where the average, non-Untappd-using drinker often chooses the next sixer based on packaging design rather than more common variables like ABV or price point. Even flavor profiles get ignored if the label is too cool to resist. Recognizing that the need to stand out on the shelf is more than half the battle, craft brewers have (smartly) turned to the creative industry for help. My, my, beer, how the tables have turned. The boom in the craft beer market over the past decade has created a veritable renaissance in contemporary design. Like skateboard decks of the ’00s, craft beer packaging design is exceedingly creative tolerant, allowing artists (or an agency) more room to take risks and produce more subjective work. This does have a downside, though. Grabbing some brews anywhere that carries a decent selection feels a bit like a scene out of Blade Runner … walls of cans aggressively fighting for your attention like a neon-lit alley in a dystopian future LA. Taking a line from The Incredibles: “When everyone is special, no one is. The ones that do it right, though, understand that it’s more than making a pretty label. It’s about the artists/agency being more involved, more fully hands-on—with the team, with the brew, with the success of the brand. Ultimately, they’re transformed into the brewer’s best and most trusted partner, rather than just another vendor. This trust allows the creative team to really hit the mark in terms of great concepts—ideas that are anything but arbitrary. Cutting through the beery noise are brands like To Øl (toolbeer.dk), whose designer/art director, Kasper Ledet, has been around since their beginning. Inspired by art history, architecture, contemporary art, politics and science, he believes the design is more than just marketing—it’s part of the actual experience. Then there’s Burial Beer (burialbeer.com), who approached their artist, David Paul Seymour, on Instagram. At the time, he was creating album art for some heavy bands—based nearly on interest alone, Burial knew Seymour would be perfect for creating their look from the ground up. Even local faves like MadTree and national giants Avery and New Belgium have upped their game when it comes to design, altering their established (somewhat iconic) labels in a targeted attempt to stand out more among the crazy craft crowd. So while craft beer continues to command attention and serious consumer dollars (despite InBev’s efforts to keep it corporate), the art of label design remains an ever-evolving, uber-competitive, highly creative field in the graphic design universe. The competition is fierce—what are you drinking?
03 October 2018
Our creative team loves a good challenge. That’s why car dealership commercials are a special delight of ours. In exactly the same way that the strict line and syllable count of a sonnet have inspired countless poets since Shakespeare’s time, the limitations of a dealership commercial form the scaffolding of some of our most creative
29 July 2016