How to Make the Most of an Hour.

There’s a story I love to tell, and I can’t remember who told me, but it goes like this – Pablo Picasso is walking through a park and a woman recognizes him and asks him to draw her portrait. He says, “Sure.” (Maybe in Spanish) and he starts sketching. A few minutes later, he hands her the drawing. It’s amazing. It captures the very essence of her character. Then he says, “That’ll be $5000, please.” The woman is dumbfounded. “$5,000!? But it only took you five minutes!”, she says. Picasso simply looks at her and says, “No, madam, it took me my whole life.”

Now, Pablo Picasso is known to have been kind of a jerk, and by most any definition, I’m no Picasso. Most creatives use this story to explain why experience should cost a lot. But I like to tell it to explain how quickly good work can be done by someone who knows what they’re doing. I typically work with clients in one of three ways – on retainer, on projects (short and long), and by the hour. And, unlike Picasso in that story, my hourly rate is not $60,000.

This is that dog bar thing I’m going to tell you about. The brainstorming workshop was so fun. We were just throwing out ideas and I was sketching them out like mad on a giant pad. At the end of a couple of hours the walls were FULL of these sheets and it was clear which one was the “winner”. A town for dogs, built by dogs. That’s why everything is spelled adorably wrong. On the right are my drawings for the architects and investors showing what “buildings” would occupy the enormous space.

This is that dog bar thing I’m going to tell you about. The brainstorming workshop was so fun. We were just throwing out ideas and I was sketching them out like mad on a giant pad. At the end of a couple of hours the walls were FULL of these sheets and it was clear which one was the “winner”. A town for dogs, built by dogs. That’s why everything is spelled adorably wrong. On the right are my drawings for the architects and investors showing what “buildings” would occupy the enormous space.

My hourly rate is $120, which comes to $960 per day (8 hours). And, believe me, if I’m working hourly, I’m making the most of every minute. Truth be told, you’re not just buying just an hour of my attention because I’m not a robot who can turn off thinking about your challenge after 60 minutes. I love what I do, and I’m going to be thinking about your business while I’m at the gas station, while I’m in the shower (sorry, but it’s true), when I’m doing housework on the weekend, and when I’m sleeping. I’ve literally dreamt up solutions to projects before. How could I ever charge you for being interesting enough to not be able to think about!?

So what could I do for you in mere hours? Lots. I’m a bootstrapper’s delight. I had a client who wanted a theme for a dog bar and couldn’t afford much. I figured out that the most affordable way to go was to let me do a handful of hours of lead thinking and together we’d throw down for a couple of hours brainstorming ideas against that structure. In the end we nailed a direction with all the details, and for another handful of hours, I worked those details up into drawings and a presentation she could show her team, investors and architects. (Another benefit of being a strategist, designer, marketer, and illustrator). So those handfuls of hours resulted in the ability to fully explain and present an experience that didn’t exist before we started working together.

Another thing done in just a handful of hours. The designer knew he wanted a lawn chair and a cooler to represent a Day Off for Fall River Brewing. I threw some his way, he chose one, we refined it together (had to replace that angry lady in the background with an abandoned lawn mower), and a beautiful beer can was born! Go buy some!

Another thing done in just a handful of hours. The designer knew he wanted a lawn chair and a cooler to represent a Day Off for Fall River Brewing. I threw some his way, he chose one, we refined it together (had to replace that angry lady in the background with an abandoned lawn mower), and a beautiful beer can was born! Go buy some!

Hey, look! More dog stuff! Same dog bar client, different thing. They wanted a new name and had a list of contenders but didn’t know how to proceed. Their budget didn’t allow for the process I apply to projects like this, so they bought a few hours …

Hey, look! More dog stuff! Same dog bar client, different thing. They wanted a new name and had a list of contenders but didn’t know how to proceed. Their budget didn’t allow for the process I apply to projects like this, so they bought a few hours to see what was possible. I sketched out a ton of possibilities that matched the nature of their business and offered some ideas they hadn’t thought of.

So what could you and I do in just one hour? Lots. Talk, for one. And by “talk” I mean YOU talk. I can listen to your hopes and dreams and recommend ways to get them into action. But I do more than listen well.

Strategy: Run your existing plan by me. Use me as a sounding board. Or tell me what your partners hate about your vision and I can advise you on a plan to compromise. Hire me to present your vision to the board. Or investors.

Design: Share challenges with product, packaging, sourcing, or sales materials. Hire me to design a poster or two for your event. Make your product instruction manual easier to follow. Clean up your brand identity a little. Make branded email signatures for everyone.

Advertising:  I can do some creative writing for you. Maybe punch up some existing copy. Help you set a social media content schedule that makes sense for your brand and audience. I could lay out a template for your print or digital ads to occupy. Come up with a handful of taglines to consider.

Illustration: I could draw up some product ideas you’ve been kicking around. Or maybe do a few illustrative cartoons for a presentation you’re giving. I could create one-off illustrations for packaging, your blog or website, or even social media.

I’ll be honest here, most creatives with my experience don’t do hourly. But I love it because it’s the first step to great projects. Not for me, for you! Every hour we work together will get you closer to realizing the big goals you’re trying to achieve. And you don’t need Picasso for that. 

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Know I'm the Right Person to Work With.

Weird for a marketing guy to say, but I’ve never been comfortable promoting myself or my work. Because to me, the most interesting part of what I do has always been identifying and solving the core challenges of my client partners. It’s kind of like how your favorite movie is your favorite movie because of the story and not because of who the executive producer was. So I’ll rip off the band-aid and tell you as quickly as I can why I’m uniquely qualified to work on your business. 

For starters, I have more than a decade of experience working at, for, and with, advertising agencies – from the impossibly huge conglomerates to the adorably tiny boutiques. (I was even a managing partner at an agency in San Francisco for a number of years). Then I quit agency life to start a business of my own. Designing all kinds of products, sourcing manufacturing overseas, expensive trade shows, private label manufacturing for department stores...the whole shebang. It became incredibly popular from the get-go, and stayed profitable for more than 20 years. (It still is, actually.) Through that business I wrote and illustrated a little book about parenting that became a perennial best seller, a globally recognized meme, and the first-born of a number of other publishing projects (There’s a new one launching October 2021). And while I was doing all of that, I began working directly with clients of all sizes, on projects ranging from event posters to multi-million dollar corporate rebrandings. I even served client side as a full-time CMO for two years. 

This is a really simple exercise I sometimes share in presentations. Which place would you go for fresh eggs? How about skydiving lessons? This, in a shell, is why my portfolio is so full of vastly different visual and verbal communication. I’m always working toward the perfect solution to every individual challenge.

This is a really simple exercise I sometimes share in presentations. Which place would you go for fresh eggs? How about skydiving lessons? This, in a shell, is why my portfolio is so full of vastly different visual and verbal communication. I’m always working toward the perfect solution to every individual challenge.

Ok, I’m glad that part’s done. Because now I can get to my favorite part – how all of that history benefits you. I’ve got a lot of experience at being more than a creative. And the lessons of those broad experiences inform the solutions I bring to you. Look, a lot of people can generate fun, creative ideas. But it takes years of broader experience to be sure those ideas check all the boxes required for the best chance of success. Does the solution fit the budget? Does it make business sense? Is it embraceable by your employees? Is it sellable by your sales team? There are so many considerations, which is why I self-edit most solutions before they ever make it to a presentation.

While my process is the same for every project, it’s also wildly different for every project. That probably doesn’t make sense, but I can explain. Each project, client, business, and challenge is unique. I never, ever, ever, give anyone a #43. So here are the process tenants I apply to every project I work on:

Understand a client's business, professional aspirations, personality, and audience, as quickly and completely as possible

This is something I loved about working at/with/for ad agencies.You had to get smart about every business you worked on...FAST. From NFL teams to really complicated tech. It helps to be a quick study, but also a good listener who asks the right questions.

Boil down the challenge to a single, simple action item

You can’t find a solution until you succinctly identify the problem. While this is a lot of what I learned working in advertising, it took being a business owner myself to truly understand which questions identified the elements of a problem (or hidden solutions to it). Once we all agree on the actual challenge, only then can we work together to solve it.

Concept multiple disparate approaches to the specific challenge that can be executed within the project parameters

There are a thousand ways to skin a cat. And this is my favorite part of the process. You’ll get an array of vastly different, smart, creative, and affordable solutions to every challenge. And if you aren’t currently getting this treatment, you’re going to love this part as much as I do.

Execute quickly and efficiently

This is where the rubber hits the road. And it’s where my love of checklists reigns supreme. Good planning and being organized is the only way to avoid costly surprises so we can stay within your budget.

Capitalize gains. Adjust when necessary

Being a fellow business owner, I know (believe me) nothing is assured. You have to be flexible and always ready to capitalize on the best outcomes, but be completely prepared for the worst. That’s probably the most vital aspect of my being so uniquely qualified to help you. I see your business as my business.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Celebrate Your Crazy-Ass Fans.

My writer-partner and I were freelancing all over the place in San Francisco doing a LOT of tech stuff for Dell, Nortel, Sun Microsystems and the like, when we somehow got called in to Hoffman-Lewis to work on a campaign welcoming the Oakland Raiders back to town. Al Davis punished Oakland by moving the Raiders to Los Angeles in 1982 because they wouldn’t pay to install luxury boxes at the Coliseum. Then in 1995, Oakland finally agreed to invest in an upgrade, so Al brought the Raiders back. Andrew and I were assigned to creating the campaign that would welcome the team home. I don’t know if you know much about football. I don’t. I mean, I know what’s going on and enjoy a good game, but I’m no expert on the subject. But here’s what I do know. Raiders fans ARE FUCKING INSANE. Seriously. God help you if you’re not wearing the silver and black in that stadium. Heck, you’d feel uncomfortable if you didn’t have your shirt off and your chest painted with the Raiders logo. You could straight-up be murdered. Raiders fans have a super unhealthy love for their team. So we used that. Not the murder part, the rabid fanatic part. Well, almost the murder part. I’ll get to that later.

It felt to us like the Raiders coming back was cool enough, but to the fans it was freaking bananas. THEY WERE SO EXCITED. Because being a Raiders fan was so much a part of their lifestyle. These fans dedicated a LOT of their energy (and disposable income) to being super scary fans at those games. Then we were like, wait…why? Why so over-the-line extreme? Did they think that level of fandom actually affected the game or something? The answer was yes. So we pitched full newspaper pages with beautifully rich, black and white sports photography of gripping Raiders action. You could see the sea of fans blurred out in the background. All blurred out but one. The fan who’s crazy antics actually caused the pictured play to succeed. It was a graphic celebration of the beauty and brutality of the Raiders as a team, AND a recognition of the beautiful mess of their fan base. Basically we made the fans part of the team. And the tagline, “Make It Happen” said so much. I explained the concept, but it was also a great rally cry that got you jacked to go to a game, so you could do crazy you.

Left: Full-page newspaper ad. Right: Detail from that ad.

Left: Full-page newspaper ad. Right: Detail from that ad.

raiders_adv_02.jpg
raiders_adv_03.jpg

This is the murder part. My favorite part of this assignment was choosing a theme song for the Raiders return. What would blast through the Coliseum when the Raiders hit the field for the first time? What would we play under radio spots? To Andrew and I it was a flat-out no-brainer. AC/DC’s Back in Black! It was aggressive enough and, you know, one of the team colors was in it. Hahaha. Everyone at the agency was super stoked about it and when they pitched it to the Raiders, (as freelancers Andrew and I weren’t invited to the meeting, thank goodness) someone on the client side asked, “Did they just say they were in a bang with a gang!?” Hahaha. We totally forgot that was in the second verse. Oakland. Gangs. Nope. 

True to the freelance advertising lifestyle, none of this work ended up running. And I can’t even remember why. I think the Raiders were set to come back but then something delayed them, so they just shelved the work. I also remember that the Raiders planned on introducing Personal Seat Licenses (PSL’s) on their return. They would charge you a huge fee for the privilege of being able to buy season tickets for your seat. How’s that for welcoming your fans back?  Super unpopular. So that might have been why they decided to just play it quiet. Because when they DID play again there wasn’t a special campaign or fanfare like we were planning. 

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Compete Against Nike.

OMG. What do you do when you’re a respected sports brand that’s being buried under the weight of Nike’s “Just Do It” campaign? You get serious about owning your story. That’s what we pitched to Mizuno USA. What? Haven’t heard of Mizuno? That’s understandable. You probably aren’t a professional athlete. Or a soon-to-be professional athlete. Because those people know Mizuno. While Nike was busy making bazillions educating the masses and promoting the romance of athleticism to regular consumers, Mizuno was focused on making great gear for real players. Not just great players. Regular players. Sure, Mizuno had big-time connections. For example, Chipper Jones and Marquis Grissom (pictured below) were actually on Mizuno’s advisory board, making equipment better instead of just getting paid to pose with it. Mizuno’s real passion was for serious athletes at all levels – high school, club, college, majors. When I was an AD at Hyett, Boradbent, and Hiembrodt, we pitched Mizuno as the brand that lives in the locker. Not on the catwalk. In fact, we even lined the conference room with lockers for the presentation. It was great theater.

But let’s step back a sec. So if Mizuno was the real players choice, I needed to show that. Nike was using fashion photographers to represent their ethos. All that glamour wasn’t going to work for us (and we couldn’t afford to do what they were doing anyway). It felt like we had to do the opposite. That’s when I found Doug Menuez. Doug was an amazing young photojournalist (and sweet Jesus you should see what he’s doing now) who had a run-and-gun style that was perfect for capturing the candid grit of what players see and do day-to-day. We countered Nike’s colorful photoshoots with deep, moody, grainy, black and white images and stirring, understated headlines. And we used cheap Dymo tape to deliver our tagline, “Serious Performance”. Because that was the visual language of the locker rooms Mizuno thrived in.

So here’s what we did - because our photography was to be editorial in nature (gritty, raw, and real), you couldn’t fake it. We couldn’t show Mizuno a tight comp with some great image we found with an awesome headline, get approval and then go shoot…

So here’s what we did - because our photography was to be editorial in nature (gritty, raw, and real), you couldn’t fake it. We couldn’t show Mizuno a tight comp with some great image we found with an awesome headline, get approval and then go shoot it. No, instead we started by scouting an athlete and location, spend all day shooting them playing, hoping to get emotional gold, pick an image, go to town writing a series of emotional headline/captions for that specific image, and then get it to the client for approval. It was all super risky because it put a lot of the process in the hands of fate (and our excellent photographer). If we came up with nothing at the shoot, we were fucked.

Good news: You get to work on an amazing sports brand. Bad News: Their product ads. This is the worst news you could possibly give an art director. But it was the hard truth. Mizuno just didn’t have the luxury of doing what Nike was Just Doing (see …

Good news: You get to work on an amazing sports brand. Bad News: Their product ads. This is the worst news you could possibly give an art director. But it was the hard truth. Mizuno just didn’t have the luxury of doing what Nike was Just Doing (see what I did there?) by making a ton of sexy branding ads. So this project was a lot about my making the most elegant product ads I could. Everyone’s seen a baseball glove, so it didn’t have to be huge. And making them small, and the only thing in full color, actually had the same effect as making them huge on the page. We captured the emotion of the sport and instantly telegraphed that Mizuno provided everything you’d need to excel at that sport.

I really love the writing on these. My writer, Andrew Tonkin, was so good at these even though I don’t think he’d ever stepped foot in a stadium in his life (feel free to comment, Andrew.). But that’s what I love about what we do. You work on so man…

I really love the writing on these. My writer, Andrew Tonkin, was so good at these even though I don’t think he’d ever stepped foot in a stadium in his life (feel free to comment, Andrew.). But that’s what I love about what we do. You work on so many things from sports equipment to olive oil to enterprise mobile middleware, and you have to become not only an instant expert on that product or service, but also know exactly how to talk to the people who ARE experts on that product or service. It’s bananas. Oh, the photo on the bottom right is what the amazing Doug Menuez did/does so well. I wish I had more of his photos from this project without all my advertising junk all over them.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Explain the Future.

Are you a huge enterprise looking to untether yourself from legacy systems to take full advantage of cloud computing? Is it 2003 and “cloud computing” isn’t even a term yet? If both of these things are true, you probably saw this campaign I created for Sybase, the leader in mobile middleware. Let’s settle on “mobile middleware” for a second. Sound boring? Hell yes. And back in 2003 NOBODY wanted to work on this kind of stuff except me, and the agency I helped establish and was a partner in. Godfrey Q and Partners took on clients that we thought would create our exciting future. It was hard. It was complicated. It was work no one wanted to do, or they did really badly to keep the lights on. But, as you’ll see, this was selling a very real future that we now, just 17 years on, take completely for granted.

One of my favorite things to do is to take really complicated stuff and make it really understandable. In San Francisco’s very first tech boom, there was plenty of that work to go around. I worked on campaigns for Dell, Intel, Micron, Adobe, Macromedia, Sun Microsystems, Symantec, Borland, Philips Videoconferencing, Nortel, Sprint Telecommunications, and so much more for this very reason. In the beginning, it all needed a lot of explaining to get people to even understand what they were all trying to do, much less invest in their vision.

d_sybase_01.jpg
d_sybase_02.jpg
d_sybase_03.jpg

Sybase’s vision was already a reality, even back then. They had to convince big businesses that they could do crazy, futuristic things with help from Sybase. Field force automation! Mobile data management! In other words, if you were a big manufacturer, you had a huge opportunity to know where your all your shit was at every stage of delivery. You’d have complete control of every single box that left your facility. Same with healthcare providers! You could see your patient and access their records from a mobile device. You could write a prescription and it would be transmitted securely (a big deal for healthcare!) in real-time to a pharmacist, and then the entire appointment could be stored digitally in the provider’s database. Remember, when we did this work, THE IPHONE WAS STILL 4 YEARS AWAY FROM EXISTING. Sybase made this all happen on handheld PDA’s and the like.

So, enough about me dating myself. What I just explained above was how I originally heard the brief for this project. It kept me awake trying to solve the advertising problem while the account person went on and on about middleware and enterprise solutions and blah, blah, blah. To me, a problem like this wasn’t solved by bold exclamations of how futuristic our offerings were. Cut out the tech speak and explain the advantages in a matter-of-fact way. If this was the way of the future, then we needed to show our customers the roadmap to how they could use it. So that’s exactly what I did. There was a great book by Chronicle Books called, Hitting the Road – The Art of the American Road Map. I used this as an excuse to expense it (FYI, art directors are always looking for excuses to buy pretty art books). It’s a wonderful collection of maps from the past, and I used it for inspiration to create my enterprise maps of the future. Our customers would be Healthcare, Manufacturing, Big Tech and the like, so my landscape had to depict their world. I found an amazing source for this, a company (brilliantly) called Xplane. I sketched out detailed maps of environments (and what would populate them) and they’d whip up ultra-detailed monochromatic versions. To this day, I marvel at their environments. Then I’d spotlight areas of the map in color and arrange them in an order that naturally led you from point A to C (or D) naturally, without numbering them or using dotted lines or whatever. And in lieu of a headline, I designed a modern version of the old map title graphic. In the end we literally showed businesses a roadmap to their future.

d_sybase_04.jpg
d_sybase_05.jpg

 Ok, fun-fact time! I added a little secret Easter egg to every ad. C’mon, there was so much going on in those backgrounds, who could resist? And it was super innocent. The only people who knew were me, and my amazing production house rep (Hi, Oksana!). To every environment, we had Xplane add a person walking along holding hands with a monkey.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How To Boil It Down.

I have a knack for making a complicated message, simple and understandable. When I was a freelance Art Director in San Francisco, way back at the dawn of the Internet, I was doing a permalance gig at J. Walter Thompson with my writer-partner and friend, Andrew Tonkin. We were there for months doing all kinds of interesting things that most creatives would stick their noses up at. It was some very technical tech work they were handling. But for us, it was just a bunch of hard problems to solve. For example, we were given the opportunity to show communications giant, Nortel, how to sell newly developed sophisticated switches to telecom providers so they could supply something new on the horizon that was way faster than dial-up Internet. I think it was called, oh, DSL or something. Yeah, I’ve been doing this for a long time.

java_01.jpg
java_02.jpg

Anyhoo, Andrew and I also got to try and convince engineers that coding with Java was easy. I didn’t know then if it actually was, and I don’t actually know now if it was back then. I may have been the only Art Director in SF to know how to make an animated gif banner ad (TRUE!), but it wasn’t like I was a super goober or something. Same with Andrew. All we knew was that if we could boil down what the nice account person took 45 minutes to tell us, we’d be golden.

And this little campaign was the end result and my favorite example of what I like to do. Take something hard and boring and turn it into something simple and kind of delightful. OMG, you wouldn’t believe how hard it was to find an illustrator who could ape the Dick and Jane children’s book style, though (Chuck Pyle)! We got Chuck to do the illustrations, got a photographer to shoot blank books on different elementary-school-type-desk surfaces, then married them all together. This is dumb, but I especially like how we handled the legal (running up the book shadow). It just disappears, making the ad look even more simple.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Make Cheap TV That’s Still Super Creative.

Advertising > Video

Commercials. Expensive to run, right? Not if you’re a cable company! It’s free! Run them across all channels whenever! Woo hoo! Oh, wait, but they’re expensive to make. Nope! Not if I’m making ‘em! Double Woo Hoo! Look, despite being able to run free media, Continuum was just a small communications company with a lot of expenses before paying for TV production. But doing TV was too good an opportunity for them to just dismiss it. Especially with all that free media at hand. So we set out to bring our brand to life through Adobe After Effects and and an first-time local voice talent.

A career preference for working for scrappy, low budget underdogs has taught me that you don’t need a lot of money to make a good tv spot (or video or whatever). You just need a good idea and a talent for using the resources at your disposal. The YouTube video work I’d done a year earlier for VersaMe racked up TREMENDOUS view through numbers, so why not double down on the formula for a cross-channel cable flight for our local communications company?

Remember, the Continuum name and logo was in charge of projecting “reliable” . Everything else was in charge of “local”. So we decided on this strategy: slick “animated” spots, with a folksy, homegrown VO, and a strong finish. Our voice talent was Tracy Bennett Smith, a charming banking professional with a distinctive accent and no VO experience whatsoever. How’d we find her? Soccer practice. Doesn’t get scrappier than that. For the After Effects work, we stuck with the talented Peter Baker, who’d done such amazing work on the VersaMe videos.

There was one more bit of creative strategy we applied. We decided to build the spots as bumpers. That means, as a viewer, you’d see a :15 Continuum spot at the start of the commercial break, then a bunch of national commercials before seeing another :15 second spot before your show started again. We used this format to make CLIFFHANGERS! OMG, it was so fun to write these. We’d set up a proposition at the beginning and pay it off at the end. It was fantastic. Nobody does that anymore, so it was great theater. They became sort of like little special station identification break-ins. Only fun.

We got to be our true southern selves and show off our local personality, all the while projecting a strong sense of reliability. More to the point, this showed people that we were a communications company you could actually, gulp, like?

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Go All In.

Advertising > Social Media

I’m not a big social media guy. I get it. And I understand that a lot of people are very all about it. I just don’t have time for it, personally. I think it’s because when I do something, I like to go all in. And the danger of that is that it’ll take a lot of my time and thinking. It’s too maintenance heavy. For example, the time I brought Mysterio to Instagram. Mysterio is a creation of mine – an infant mentalist who predicts your baby’s future on a t-shirt. Mysterio had been a best-seller for Wrybaby for years, and Kelly and I were about to take our boy on a trip to Cambodia and Vietnam. We were visiting some amazing places that would probably be pretty mundane in Mysterio’s world. So I decided to have some fun and not just make Mysterio real, but also make him his own Instagram account. He was going to have an ADVENTURE!

ad_social_mysterio_01.jpg
ad_social_mysterio_03.jpg
ad_social_mysterio_06.jpg
ad_social_mysterio_07.jpg

What I didn’t want to do was to be Mysterio on my trip. I’d have to get into the tux and turban whenever Mysterio wanted to post a selfie and that sounded...inconvenient. Also I couldn’t be very spontaneous. So instead, I decided to never show Mysterio. Or, at least his face. I got some pretty silk fabric and had Kelly make me a jacket sleeve with a white shirt sleeve inside it. Just one sleeve with elastic up at the top and a cuff at the bottom. Then I bought some fancy white formal gloves and voila – an instant, travelable Mysterio costume! I kept the sleeve and gloves in my bag so that whenever I had an idea, I could slip them on, take my photo, and post away. 

ad_social_mysterio_08.jpg
ad_social_mysterio_09.jpg
ad_social_mysterio_10.jpg

We invented the story before we left – Mysterio was coming to visit Wrybaby and then head out on a dangerous, exotic buying trip. What would happen along the way, Kelly and I just made up as we traveled. Mysterio ended up having all kinds of problems on his journey. He was lost, drugged, kidnapped, oh I’ll just let you follow his story. The photos at the beginning show Mysterio shaking hands with folks at Wrybaby. The Mysterio hand shaking mine is actually Kelly’s. Hahaha. From the outset I think the boutiques who stocked Mysterio thought our Instagram feed was going to be some lame sales thing (they didn’t know we were traveling to Asia), so imaging their surprise when he started posting so many exotic locales! Like I said before, when I decide to do something, I’m all in. I’m glad it was a limited series!

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Cut to the Quick.

Advertising > Print

As of this writing, everything I’ve shared with you has been real. Real, and paid for, and real. Except this. But I love this so much I wanted to share it. This was a spec project that Andrew Tonkin (my writer partner) and I put together when I was working in San Francisco. There was a little niche newspaper in the East Bay called the Antique Journal. I love antiques and Andrew and I were looking for a client, so we approached them with this idea.

d_antique_01.jpg
d_antique_02.jpg
d_antique_03.jpg
d_antique_04.jpg

They didn’t understand it. Which is fine. I don’t know why they didn’t get it, but then again, they aren’t around anymore and Andrew and I are. Anyway, everything about it was spot on and would prove over time (see Antiques Road Show) to be exactly on target. Antiques Journal was a trade journal. It wasn’t an interior design boondoggle like Country Living (even though, admittedly, they do feature a 2 page recurring section about value). The Journal wasn’t soft and sweet and nostalgic and Pinterestable. It was about money, baby. Antiques is a serious business, after all. And I guess that’s what I like about these ads. They boldly trash sentimentality to speak the buyers (or sellers) language. Andrew’s writing is just so good, I had to share it with you.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Be One and Done.

Advertising > One Sheets

VersaMe was doing most of its heavy marketing lifting online. It made sense (sorry print pubs), but even still, there was always a need for printable downloads and leave-behinds for meetings, that kinda thing. When we shifted focus to our Partner program, we needed specific materials for all that. Plus, we brought on sales reps to follow-up leads in a couple of industries we were getting traction with. And those guys love leave-behinds.

d_versame_onesheets.jpg
d_versame_strategy_05.jpg

We’d already made a killer brookchure (I think every time I mention it I’m going to change the name), that covered a LOT of ground for the various organizations that could use the Starling. But once we got a nibble, we needed something to send them that was more specific and direct in asking for the sale. That’s where these little one-sheets came in. They were informative advertorials that acted as really brief product brochures for each field. If you’ve read any of my bits about brochures, you know I have a sort of system. For a one-sheet, the rules are the same, but also a little different. While no one wants to read a brochure OR a one-sheet, if they’re holding it then they did qualify for a call to action. So, they’re a little more likely to read at least a little bit (if not half) of your long copy. And for this format, the eye-candy rule still applies. Pepper the thing with visual stimuli and repeat your points over and over in pull-quotes and captions. Keep things brief, lively and kinetic, with an eye on the hierarchy of your messaging.

dave_bug.jpg

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Achieve Good, Fast and Cheap.

Advertising > Video

They say it’s impossible. That you can only pick two. Want it fast and cheap? Well, it’s not going to be good. You get it. I do, too, and agreed with it until I figured out how to get all three at once.

VersaMe’s Starling was an amazing little piece of technology. If you haven’t read the strategy bit behind this, then take a few minutes and go for it. You’ll get the big picture. This part’s all about the YouTube videos we launched in support of a giant AdWords buy worth tens of thousands of dollars. And I only had two weeks to concept and produce video for it.

When pitching the Starling, there’s a lot to get across. We had to describe a wearable technology for early-learning that no one had ever seen before, and then explain the problem it solved to people who didn’t know the problem existed. Before I got involved, VersaMe had signed onto an expensive Google AdWords plan where Google would assign you a personal rep who’d not only set you up with their best practices for production on every front, but also do Google-y things in the background to maximize your kill count. First, I dove into the secret sauce they gave us on video production. What you see here follows EVERY one of Google’s recommendations to the letter.

They say if you don’t have anything to say, sing it. Well, if you have too much to say, sing it and add pyrotechnics, a chorus line, and maybe a donkey. That was the idea behind these spots. The Starling’s whole existence involved explaining some pretty dry early-education research. And, as I note in the strategy part, you couldn’t really prove any kind of results, because, well, the results would be intangible. Oh, it worked, or would work, based on decades of research, but not like a vacuum that could pick up a bowling ball. You couldn’t immediately see X affect Y. And remember, even though we were spending a lot of money on placement, production had to be done on a shoestring.

This is the fun part for me. No time and no money – so what can I bring to this party to help solve the problem, be on brand, and come in on no budget? It’s such a challenge! Hahaha. Oh, also, the spots had to really make a big impact. 

FINAL: One of my illustrations in the Brain Hacking spot. They go by so fast! See more of my illustrations for these spots here.

FINAL: One of my illustrations in the Brain Hacking spot. They go by so fast! See more of my illustrations for these spots here.

WORK: My professional storyboard style and OH! Hey, look! It’s me at VersaMe actually drawing the brain hacked baby! Yes, that tie does go with that shirt.

WORK: My professional storyboard style and OH! Hey, look! It’s me at VersaMe actually drawing the brain hacked baby! Yes, that tie does go with that shirt.

Luckily, I’s cans draws. In various styles, too. So I put together a kinetic, breathless campaign for the Starling that a talented After Effects editor I knew (Peter Baker with sound assistance from his partner Anthony Proctor) could hopefully put together quick. I boarded out the spots, then illustrated or scrounged up all the elements and laid them out in a super-detailed, layered Photoshop Tiff. The “animation” I illustrated frame by frame, and I included them as layers for Peter, too. My copywriting wife had the perfect voice for this, so we recorded her VO in a sound studio in Charlotte (Hi, Ground Crew!). Peter would get the VO and Tiff file and apply his After Effects wizardry. Then we’d make some adjustments, and send it off to Anthony for SFX additions and final mixing. In the end, each of these spots cost about $1,250 to produce.

Between following Google’s best practices, the frenetic pacing and the fun visuals, the view-through rates for this campaign were off the charts. After so many years in the business I’ve become more than a little cynical regarding praise from people who you’re paying tens of thousands to. Right? But our Google rep was legit blown away to the point where I didn’t think she thought these would do well at all! Of course we didn’t stop there. We started running these spots on every other platform, too. We also tried some tamer material too, but later on. It was more traditional tech/baby stuff that was soft and fuzzy and important sounding. The analytics on that weren’t as amazeballs in comparison to the fun stuff, which kind of surprised me. Oh, why don’t I also show you the stuff we did with social influencer and legit funny guy, DudeDad. He made some of his own videos, and you can see how someone else explains the Starling to parents.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Make the Best of What You’re Given.

Advertising > Print

I’d worked with this client for more than 8 years, and I’m still not sure where this brand originally came from. No one wants to take ownership of it, and you can guess why. It was a bear to deal with. If you read the strategy involved in this, you know all the baggage that came with it. So to be clear up front – not my logo, not my fonts, not my colors.

FINAL: The ads were clean, crisp, and clear. A total about-face from what existed before. And a HUGE step in making this communications company look like they knew what they were doing. And we didn’t have to spend a dime on photos, new logos, new co…

FINAL: The ads were clean, crisp, and clear. A total about-face from what existed before. And a HUGE step in making this communications company look like they knew what they were doing. And we didn’t have to spend a dime on photos, new logos, new colors, or nuthin’.

The first thing to do when life gives you a dog’s breakfast of a brand that you can’t change is to make the best of it. Look, it may be terrible, but it’s what they had and what people knew, so I took a deep breath and got to molding it to our purpose. I started by ejecting all the communication company visual cliches because everyone knew MI-Connection was a cable, Internet, and phone provider. Why punish the people further with stock photos of perfect families laughing at their laptops and plasma TVs? The images were a waste of time, money, and an excellent way to blend in with everything else in the recycling bin. Besides, junk like that is only useful as a last refuge when you don’t have any kind of story to tell. Think about that when you get your next Spectrum mailer.

We, on the other hand, had a really good story to tell. This is rare, so we took full advantage. Because we were the community-owned little underdog, we could say things the big out-of-town players couldn’t. And say them we did – in a way they couldn’t. We were free to launch all the broadsides we wanted at the competition because they were too big to bother fighting little ol’ us. It was so fun writing these things. And boy, did it get attention. After all, what the heck kind of communications company does ads like this!?

BEFORE: See? A little taste of what I had to work with coming on to the business.

BEFORE: See? A little taste of what I had to work with coming on to the business.

FINAL: More ads from the launch along with some online stuff we did that was really fun. Super click-baity and led to a landing page that answered the mystery and called for a sale.

FINAL: More ads from the launch along with some online stuff we did that was really fun. Super click-baity and led to a landing page that answered the mystery and called for a sale.

FINAL: The best part about this is saying things that only a local provider could say. Mr. Burnett was a real guy (actually my neighbor) and he (and all his friends) were blown away that his personal grievance would be publicly addressed in all the …

FINAL: The best part about this is saying things that only a local provider could say. Mr. Burnett was a real guy (actually my neighbor) and he (and all his friends) were blown away that his personal grievance would be publicly addressed in all the newspapers. It was so freeing to be able to do stuff like that and have it work!

I gotta admit that at first I insisted on doing the whole brand re-launch for MI-Connection with just the headline, copy and logo. No offer. Hey, I’m an art director and that’s what we do. But the CMO talked me down to reality. And she was right – it was a retail business. So I redesigned how the offer was laid out so that it played a supporting role to the brand messaging. Both are given virtually equal weight depending on what the reader is drawn to – message or price. In the end I was so happy with it, that I kept that format when we did the big rebranding later on.

I think my favorite thing about this project is that we didn’t have to do a lot of heavy lifting to stand out in a big way. In fact, we stripped everything down so far that the ads were even cheaper to produce, which let us do even more messaging. All while making a huge impact.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 


How to Get Personal.

Advertising > Video

Downtown Mooresville is full of remarkable people running remarkable businesses. We’d started, years ago, by convincing people that there actually WAS an historic Downtown in Mooresville. Then we told them about all the special events happening on the steady there. Then we told them about all the shopping, dining, and services that were available Downtown. Then we gave them access to private membership Downtown, and a fun way to engage with those businesses. And then we introduced folks to the people who made those businesses possible. It was personal, it was heartfelt, and it was really special. Despite there being no budget for a real crew or production, I loved this project.

Kelly and I made tiny documentaries that gave you a glimpse of each business owner’s personality, their passion, and their dream. We called the series “Discover Downtown”. And each video was promoted via Downtown’s social media, Downtownie newsletters, and the Downtown website. Each video was accompanied by a full length article on how these makers made their way to Downtown Mooresville. We did 10 of these before we ended it.

I wish we had better sound on a lot of these, but we did the best we could under the circumstances. It really was just a crew of two – me behind the camera and my copywriter wife running the interviews. I also edited. :-P But, hey. I still love these for the people who were kind enough to participate.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Succeed by Being a Pain in the Ass.

Advertising > Print

Downtown Mooresville had an aggressive line-up of events planned to lure foot traffic. There was something for every season. While we set up an events page on the newly branded website and drove eyeball traffic there with online ads and social media, we also had to cover the bases in print. Which, by the way, was way more fun than the online stuff because we got to write cute little seasonal headlines that intro’d that month’s event schedule.

FINAL: What I send the pubs and what the pubs eventually print. It looks deceivingly simple, was actually a colossal pain for everyone, and was totally worth it for the way it tied all the dispirit ads together so they worked under Downtown’s brand.

FINAL: What I send the pubs and what the pubs eventually print. It looks deceivingly simple, was actually a colossal pain for everyone, and was totally worth it for the way it tied all the dispirit ads together so they worked under Downtown’s brand.

At the same time, Mooresville’s newspapers (the Mooresville Tribune and the Charlotte Observer) had had sales reps stomping around town collecting Downtown business to place small space ads at a reduced price which would run in a special dedicated full page. You know the menagerie I’m talking about. So not only did they need a quarter page template for events, but also a template that said “All these terrible ads are from businesses in Downtown Mooresville”. Well, not exactly that, but you know what I mean.

I worked on a lot of templatized ads in my early creative career in San Francisco (Parc 55 Hotels, Scandinavian Designs (an early IKEA), KPIX Channel 5, etc.) but none of it was as convoluted as what we did for Downtown.

BEFORE: This is what the pubs were doing for Downtown before. All over the map, right? From Easter to Christmas, every ad was wildly different.

BEFORE: This is what the pubs were doing for Downtown before. All over the map, right? From Easter to Christmas, every ad was wildly different.

See, here’s how it worked before – The pubs had been doing these full page gangups forever. There’s a full-page ad that measured X by X, and the sales reps would try to fill it with as many small space ads as they could muster up from the small businesses Downtown. Then the pub’s art department would write, design and produce all those small ads to standard sizing that would fill the page. The Downtown Commission (AKA neighborhood, mall or whatever) usually gets a quarter page’s worth of branding space. Unless of course, the reps come up short on sales. Then they add whatever they couldn’t sell to the branding space, free of charge. Usually it doesn’t make that much of a difference because the paper is also designing the branding bit, too. You could just hand over your branding assets (which everyone did), but good luck getting anything consistent from month to month beyond getting your logo somewhere on the page next to a giant headline in a random font yelling “EASTER TIME DOWNTOWN” or “MERRY CHRISTMAS”, along with a shit ton of clip art. I wanted to change that.

FINAL: On the left is what I’d get from a newspaper rep. An phone snap of their hand-drawn schematic. Then I’d lay that all out and fill the spot they left for Downtown with seasonal goodies. This one was pushing gifts Downtown for Mother’s Day.

FINAL: On the left is what I’d get from a newspaper rep. An phone snap of their hand-drawn schematic. Then I’d lay that all out and fill the spot they left for Downtown with seasonal goodies. This one was pushing gifts Downtown for Mother’s Day.

Only by working REALLY closely with the sales reps, was I able to get what I wanted. It was time-consuming, but also fun, because I knew no one else (like neighboring downtown Statesville or downtown Davidson) would ever think of doing it. I wouldn’t design all the small space ads, but I designed a template to lay behind them. I also designed a solution for the standard size we were given for our branded space, but it hardly ever worked out that way. Sometimes we had a little more space, and sometimes a LOT more space. For the underlying template to be visible and tie everything up in a tidy package, the small space ads had to be a teeny bit smaller than their standard sizes. And that’s what wrecked all kinds of havoc from the production department to their billing system. It was super inconvenient for the bean counters, but they still let me do it.

FINAL: Sometimes we’d get a lot of space, and sometimes very little. So we had to be flexible with whatever we were promoting that month. We also had a lot of fun with the attention-getting headlines.

FINAL: Sometimes we’d get a lot of space, and sometimes very little. So we had to be flexible with whatever we were promoting that month. We also had a lot of fun with the attention-getting headlines.

Each publication would send me a list of the total ad space and individual ad sizes they were able to sell. Whatever was left over, I’d get to use for the branding. Then I’d build a full page template with white boxes representing where their production artists should place the small space ads. Then, I’d go to town filling out the space that was left with what Downtown wanted to promote: a specific event; the complete event schedule for the month; or maybe just an ad about the charms of Downtown Mooresville. It was a pain, but I was totally right. No other competitor to Downtown Mooresville did it. And our stuff most always ran simultaneously during the big shopping months. The bigger, “more sophisticated” city’s ad looked like shit compared to ours. It was not only hilarious, but it really went a long way toward making Downtown look special. Oh, and as a super-double bonus, I eventually managed to get all the local magazines to do the same thing with me. Hahahaha.

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Be Reeeeeaaaalllly Selective.

Advertising > Photography

Shooting Downtown Mooresville was tricky. First of all, while there are a lot of beautiful historic buildings, not all of them are. As I explain in other posts, Downtown has enough interesting architecture to be hecka charming, but not enough to be wall-to-wall amazing. Time and development chipped away at the charm. So the first thing I did was to shoot Downtown’s architecture and capture the character in a little “best-of” collage. I actually created this for the first rendition of the website, but it worked out so well, I ended up using it all over the place and mostly as a footnote to things like the email newsletter. 

d_downtown_photo_04_02.jpg
d_downtown_photo_04_01.jpg
d_downtown_photo_04_03.jpg

The really tricky part was making Downtown look populated because it wasn’t yet (as I explain in my breakdown of the brochure work). I’ve alway been in love with the reportage style of run and gun. I blame this all on Doug Menuez, who I worked with on Mizuno in San Francisco. He’s so good. My NC source (every time) for the candid eye is local photographer, Jeremy Deal. During the brochure shoot, he made the most of some impromptu staged situations so it’d look totally natch. I just want to share some of his work here so you can see how we framed Downtown as a place that was busy, proud, historic, successful, and fun.

dave_bug.jpg

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Look Socially Buttoned Up.

Advertising > Social Media

I don’t claim to be a social media expert. I get it, but I don’t love it. I just don’t have time for it with all the other stuff I do. Before we rebranded MI-Connection as Continuum, they didn’t have a social media presence. Heck, they could barely sustain a home page. So when Continuum sprang to life I added social media to our to-do list. Hey, I know enough to know it’s bad to not have a presence there at all. So I made it not a big deal. We set out a content agenda based on what subscribers would like to hear from their local video and Internet provider. 

d_blog_continuum_04_03_01.jpg
d_blog_continuum_04_03_02.jpg

Monday - Watch List: What’s new on cable this week?
Tuesday - Found Online: What’s cool on the Internet today?
Wednesday - In the Continuum: What’s going on behind the scenes at your friendly neighborhood communications provider (candid employee photos, news, etc.)
Thursday - Go Local: Guess which business (and Continuum customer) this is!
Friday - Continuous Choice: What’s playing On Demand this weekend?

It turned out to be really fun to build these, too. Because visually you can use all the TV and movie stuff you want. I developed (and personally maintain) a steady stream of helpful content in a tight, simple, sexy little template that looks great in our Instagram profile. I also get to be a little snarky and weird sometimes just to show that there’s a real person writing these, and not some service.

dave_bug.jpg

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How to Shoot Regular People.

Advertising > Photography

Regular people are hard to photograph. They’re nervous, self-conscious, and most have never been in a photographer’s studio before. Which is why we didn’t take Continuum’s employees to one. We made a pop-up studio in Continuum’s break room. The idea was to have everyone roll in one at a time, make them comfortable, take some shots and let them go before the next employee came in. It didn’t go like that. And thank goodness.

d_blog_continuum_04_02_02.jpg
d_blog_continuum_04_02_01.jpg
d_blog_continuum_04_02_03.jpg
d_blog_continuum_04_02_04.jpg

All these people actually LIKED each other, so in the end, it was like a party with folks hanging out for a bit after their turn to tease the next one up or try and make them laugh. It was a hoot. It also didn’t hurt to have local photographer, Jeremy Deal, behind the camera. I met Jeremy the way you meet most people in our small town. I needed a photographer for a Downtown Mooresville project and he was recommended by a frame shop owner on Main Street. I’ve shot with a lot of excellent photographers during my career in San Francisco, and I saw right away that Jeremy had chops I thought I’d never find here. Also he looks like Liev Schreiber, which is cool.

We shot everyone expressing a range of emotions, too. It was fun, and in the end we had a big bank of photos to use whether our communications were being sassy, competitive, mean to our competition, or friendly (of course). You’d think everyone would be super demanding about what photos we used, but surprisingly they trusted us to only use their best sides. Which we did. :-)

dave_bug.jpg

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com

 

How and Why You Should Avoid Cliches.

Advertising > Print

So the new logo we made for Continuum projected communication company reliability, know-how and strength. But everything else had to communicate We’re your local choice.” Early on we thought about having the advertising feature well known locales around each town with our Continuum service bands flowing through and around them. I still think that would have been kinda cool, but in the end it was really problematic for one hilarious reason. Continuum’s footprint covered three towns that don’t necessarily like each other! Davidson thinks Mooresville is full of low-class hicks and Mooresville thinks Davidson is full of snooty buttholes. Nobody thinks about Cornelius. Crying laughing emoji.

FINAL: Folks, meed Amber, Steven, and Jorge. All real people making Continuum great on a daily basis. It was so fun to draw out everyone’s personalities you can see more from the shoot here.

FINAL: Folks, meed Amber, Steven, and Jorge. All real people making Continuum great on a daily basis. It was so fun to draw out everyone’s personalities you can see more from the shoot here.

HOW SHITTY IS THIS? Right? Yet communications companies persist in feeding us this crap. Oh, and yes, I stole this image so I could purposefully leave all the Shutterstock watermarks all over it. This is Continuum’s competition so the bar was set pr…

HOW SHITTY IS THIS? Right? Yet communications companies persist in feeding us this crap. Oh, and yes, I stole this image so I could purposefully leave all the Shutterstock watermarks all over it. This is Continuum’s competition so the bar was set pretty low to beat it. Trick is, how? What do you replace it with? Well, if you have a good story to tell, use that.

It all ended up working out for the best. We got to focus on what being local really meant, which was more than location. It was about familiarity. It was about being a company staffed with your neighbors. It was about proximity. If you had a problem, just call Amber. She’ll tell Jorge, and your problem will get fixed that day by someone who’s glad for your business. Heck, Leslie will even follow-up later with a phone call just to make sure you’re good.

And in the end that’s one of the reasons why we featured Continuum’s employees so prominently. But it wasn’t the only reason (and this is my favorite part about doing what I do). I don’t like solving one problem – I like solving all the problems with one solution. These employees were (and still are) lovely people. They’d been through a LOT of public scorn since the company was purchased and they deserved to be heroes for a change. Also, how do you differentiate yourself from the big, faceless, out-of-town providers? Put a face to your business. I love, love, love hearing stories about how Continuum’s employees get recognized in at the grocery store, or that someone’s girlfriend doesn’t want him in so many ads because all her friends’ hearts get sent aflutter. That tells me the ads are working AND that these folks are being rewarded for being awesome at work in a way they never were before. Win, win, win, win.

FINAL: Here are some print examples of how we used our fun employee photos. We also bought pre-movie slide show space at the local indie theater in Davidson. So imagine sitting there in your comfy chair and seeing your neighbor larger than life on t…

FINAL: Here are some print examples of how we used our fun employee photos. We also bought pre-movie slide show space at the local indie theater in Davidson. So imagine sitting there in your comfy chair and seeing your neighbor larger than life on the big screen? We made these folks celebrities and that turned them into brand ambassadors. I love how this one solution solved so many problems, including ones we hadn’t even thought of it solving.

And this brings me to measuring the success of a campaign. Go to any agency website and tell me if their ads did anything more that bring down CPCs or increase CTR. Good advertising should do more than you can ever measure.

dave_bug.jpg

DAVE SOPP – Creative

Yep, that’s me. I’ve got over 20 years of marketing strategy, graphic design, advertising art direction, and illustration experience. Want to use some of it? Email me at dave@davesopp.com