HOW TO DESIGN A BOOK TO NEVER SIT ON A SHELF.

I’ve designed and illustrated a handful of books like the silly Safe Baby Handling Tips, Mysterio’s cute picture book, and more. But this was the first book I was asked to design that was, well, an actual BOOK. Like, a book you could spend more than 5 minutes reading. It had more than 1000 words in it, for crying out loud! What made it even more special was that it was penned by my talented writer wife and partner, Kelly Sopp. Which I’m thinking might be how I was lucky enough to get this very different assignment? Maybe.

Kelly’s book is titled Hey, I Love You…and it’s beautiful, simple, and remarkably (you’ll appreciate the pun in a minute) unique. It was written to give couples practical marriage wisdom, along with an effortless way to exchange heartfelt words that need to be said, or unsaid, or aren’t said often enough. It’s different from any book in the Relationship and Marriage section of your last remaining bookstore for a lot of reasons. But the most brilliant reason is the way you use it. Any book can tell you what to say, how to act, or what 25 rules to follow to reach happily ever after. But Kelly’s book has a simple, built in system that, when applied, will literally keep dust from collecting on the book AND your marriage.

The final cover of Hey, I Love You…: Bookmark your way to a Remarkable Marriage by Kelly Sopp. We did over 30 covers for this, can you believe it? And they were all this simple and they were all in white, black, and this charming yellow. That byline on the front on white? That’s a removable sticker. The book is meant to be personal and we didn’t want people looking at marketing stuff every time they wanted to use it.

SO MANY WORDS! It was actually fun managing the typography. I hadn’t dealt with having control over this much copy for a while and it was so fun. Of course there more to this than this one spread, silly. Oh, and tabs. I was able to include finger tabs for each of the 5 chapters so you could find what you wanted to “say” really fast.

It’s so REMARKABLY easy (paying off on that earlier pun now): the bulk of the book is composed of bookmarkable sentiments that you can use to offer words of romance or encouragement to your spouse. Just find the feeling you want to share, pop in the supplied bookmark, and hide the book in a fun place for your partner to find. Under their pillow. On top of the coffee maker. In the fridge. Get creative! Every page is a love note to be left to deliver a soft, unexpected reminder to your spouse that you’re there and thinking of them.

But the book is especially helpful to any and every marriage because it accounts for reality. Everything’s not all romance, all the time. There’s a section for when you have disagreements and tough times. There’s even an array of thoughtful ways for you (or your spouse) to sincerely apologize for any discretion. In these cases, it’s less about starting a makeout session. It’s more concerned with getting you two discussing what might be out of whack in a kind, constructive way so you can get back to the makeout sessions.

Most of the book is like this. And this is how it works: “Oh, something is bookmarked for me!” (top right). “Awwwww!” (left) “AWWWW! (bottom right) Do I really need to tell you what happens next?

This isn’t just a book to instigate cuddles. It’s got everything you’ll need during your decades together. Seriously. It can even help you tackle some pretty serious stuff. My article on doing the book illustration goes more into the challenges that posed to the tone of the book.

I’m not trying to sell you the book. If you’ve read any of my articles on strategy, design, marketing, and illustration, they all dive into this much background detail. Because no work can be evaluated by the work alone. That’s literally why they say, “You can’t judge a book by it’s cover.”! Because the cover may not reflect the spirit of the writing. I had a brilliant creative director tell me once that the fastest way to kill a bad product is with good marketing. It’s so true.

So when I got Kelly’s final manuscript, here were my take-aways:
Upbeat. WAY out of character in the genre (in a good way). Funny where appropriate and keenly adept at bringing a sensitive positivity and kind understanding to the serious bits. It reads like lavender scented, soft wool dryer balls. Romantic if you’re in that mood, comforting if you aren’t.

The book’s content was a complicated thing (the topic of marriage) broken down into its simplest form and delivered with a kind smile. So that was my direction. Get out of the way of the words and just deliver them, gently. The font is Abrade. It’s got, like, 1M variants and its Light version fits the tone of Kelly’s writing like a wedding ring.

All this is from the initial pitch to our publisher (Running Press). Pretty similar to what was published, no? Hahaha. It’s because we presented such a detailed, thought out vision of what this book could be. But there were some changes. (Clockwise) At first we thought it’d be really nice if the hardcover was cloth covered (instead of a book jacket). But that turned out to be too expensive (and in the end it was fine ‘cause it’d probably get really dirty with use. This is a photo of the book I ‘shopped up for the pitch. The books visual language was thought out at the beginning, too. We even included a series of patterns to use and that was just for the endpapers. The HEY logo as so important that I did a ton of versions before landing on what we chose, here on that bookmark. And finally a ‘shopped image of the book where one might find a spicy sentiment waiting for them!

Alternate covers! So many covers. I mentioned we looked at over 30 subtle and not so subtle variations, but that didn’t even include versions of what shape the cover sticker was or what would be on the bookmark or what if the cover was cloth with an acetate jacket!? I don’t know if this is how much thinking goes into every published book, but it’s what goes into the ones I design.

This is where to keep this book. Everywhere. The best design aspect is the concept itself. That the couple who owns the book uses it as a fun communication device, passing it back and forth as desired or needed.

I mentioned at the beginning that this was more of a “book-like” book than I’d ever designed in the past. It’s true, but it’s “more-than-a-normal-book” because of the interactivity baked into the concept. So even the writing of it was part of it’s design and I collaborated with my author from the outset. We divided the content into bite-size, intentional bits. We made it easy to digest. And the final layout is a natural extension of that.

The bookmarkable spreads are visually sparse to give the sentiments the attention they deserve. The lead message is positioned large as a sort of headline at the top left with an accent illustration above for colorful, emotional seasoning. At the lower right are brief, carefully chosen words of support, positioned to not be blocked by the supplied bookmark. Easy squeezy, light and breezy.

One of my favorite quotes is one that I cannot for the life of me remember so I’m going to go with something similar that I found on the interwebs - ”The definition of being good is being able to make it look easy” That was from one of the great thinkers of our time, Hugh Jackman. I happily did over 30 cover designs for this thing to be sure I got it right. Yeah, the cover is important, but 30!? Published authors, did you get 30 versions to consider? I also did 250 more illustrations than was called for (or paid for in the advance). I explain in my article about the illustrations that it wasn’t because I had to because I was married to the author. It’s just the book needed it. Which didn’t make it the easiest project I’ve ever tackled but it was just as rewarding in the end. Because I LOVE going the extra mile(s) for something (and someone) I deeply believe in.

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

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How to Be One of the Cool Kids.

Design > Trade Show Booth

This booth! Hahaha. The Stuf brand was snooty as all get out. It was acting like a spoiled, high-end art studio and its big debut in its own show booth had to be amazing. I love planning out trade show booths. I mean, I hate it and love it. My process is ridiculous, so you’ll see why. I’m sort of a control freak. And, I’m not very spacial. Like, I can’t really tell, just off the top of my head, how to fill a 10’ x 10’ space with displays and furniture and chairs without it being all crowded and shitty. I need to cheat to find that out.

The Stuf booth had to be amazing, sure. But the brand was so clean, and white, and simple that it couldn’t be a circus (even though that was one of the Stuf families). Definitely, the figures needed to stand out. I started with some booth sketches and ended up with an idea of what I wanted to do. Then I moved onto Illustrator to create a floor plan to 1/4 scale. Then I’d do wall plans to scale. Then, yep, I print them out and build a small 1/4 model of the booth, complete with tiny hand-build shelving and furniture. I know what you’re thinking and, yes, I’m a total freak. But wait. There’s more. I populate it with little people to scale and then shoot it, so I can see what it’s like to be IN THE TINY BOOTH.

FINAL: For Stuf’s premier booth at NYIGF, I wanted to build a world a booth that would blow people away while not overshadowing the product. Entering the cloud-world of Stuf, you’re treated to a museum-like experience.

BEFORE: Can you believe this is what our space was when we got there? The design section had wood walls instead of the pipe-and-drape you’d get in less fancy parts of the show. I knew we’d have stable walls before I started designing for it and it’s the only way we could have done what we did.

COMPS: An early sketch that I took to Adobe Illustrator to work out. It didn’t work out. It’d have been cool, but I didn’t think anyone would want to come into the booth through such a narrow entrance. Especially the top part. But the idea of a semi-enclosed space was interesting. So I scaled everything back to end up with the clouds. Because they were all white and the booth was white, I thought they’d be less intimidating. They’d become sort of visible but invisible. To test it out, I’d have to make a scale model because I’m weird like that. Also, I love that tie.

COMPS: Proof positive. My model really helped me understand the space, figure out how I’d attach the clouds to the walls, and managed my expectations. Then I could get down to speccing out the details to give to the guys I hired to make the clouds for me. They had to be light (and on the cheap) so I ended having them cut out of thin sheets of PVC. Then they’d just bend ‘em where I needed a tab to screw them in.

FINAL: A look at our hardcover application to get into the snooty design section of the show. That’s a picture of my model in the book. I hadn’t made the booth yet, but wanted to convince them it was real, it was cool, and it was ready to bring to NY. Kelly’s standing outside the Stuf booth just as we started setting it up. And finally here’s my model shot again along side the real deal. Expectations managed! Hahahaha. It kind of creeps me out how similar they are, but that’s says a lot about thinking shit through. Or about how much I hate surprises.

The best part of this was the clouds. The front of the booth would be framed in clouds, as if they were parting to let you in. Directly behind the clouds, a bright white booth where the only color was the color of the Stuf dolls. It made a HUGE impact. The trick with bringing Stuf to trade shows wasn’t the booth, though. It was getting in at all. Because Stuf belonged in the Design category, and that category is as snooty as the fake art brand we’d created. The design sections of trade shows are juried. You have to submit pictures of your booth and your brand and your products, and then they decide if you’re one of the cool kids or not. And of course Stuf didn’t actually have the booth ready to go yet (I wasn’t going to pay to manufacture it, if I wasn’t going to get in). So that’s where making a scale model maybe wasn’t such a crazy thing to do after all?

We made a hardcover book of the Stuf brand, and we sent that as our application! Yeah, INSTEAD of the actual application. Who does that?! Of course we got in because of it. I’ve written about what a disaster our first shipment of Stuf dolls turned out to be, and this booth was sort of a similar tale. As simple as we designed it, it took FOREVER to set up. We thought it might take a few hours – screw in a bunch of shelves, screw in the clouds, rub down some type, how hard can it be? It took us 7 hours to set up. And when you believe it’ll take 3, but instead it takes 7, it’s mental torment. But the final product was worth it. 

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

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How to Be a Whole Bunch of Different Illustrators.

Illustration > Stuf

OMG this was fun. But how can illustrating art toys, not be? I’ve written about how this brand was created (and why), and you can see how Stuf’s design process went. From an illustrative standpoint, I wanted to try some things I’d never done before: like try out a really minimalist modern style; or experiment with different materials. The idea was to make each Stuf theme seem like it was from a different artist, but what you see here is all me. :-)

ILLUSTRATION: Some of the concepts I drew up for the plush project, Stuf. All based on real birds and darned if I can remember who that cute fella in the bottom middle is. Anyhoo, the idea with Bird Stuf was that it’d be super modern in the style of Charley Harper.

ILLUSTRATION: Circus Stuf was probably the most challenging and the most fun because of it. I really wish I did the acrobat. I threw the Ringmaster doll photo in so you can see how the flat illustrations translate to the Stuf dolls. And below is a fake Photoshop job I did to test a two color version of the Big Stuf Elephant.

ILLUSTRATION: The march to the final Big Stuf Robot. I didn’t think anyone would remember punch cards. So sad. Hahaha.

ILLUSTRATION: This was a round I considered for International Stuf. With, of course, each figure representing a country. I couldn’t help but think of Mary Blair when doing these.

ILLUSTRATION: Pirate Stuf was entirely different from all that other mod stuff. It begged to be rough and sea-faring. And the back of each was an hilarious character trait. The guy with the mutton chops is Curly Pete and he was the only one “who knows where the treasure’s hid”.

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

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How to Break Into Modern Art Museums.

Strategy > Product Development

I’d designed and manufactured all kinds of products – baby clothing, children’s hooded towels, toys, stacking blocks, board books, even pacifier cases. OMG it was all so HARD. I had always wanted to make a line of plush (normal people call them stuffed animals), but was intimidated by the potential for it to go wrong. Hahaha. I’m such a chicken, but being gun-shy DID bring me success in our Mysterio line. So, I put that kind of thinking against the plush problem.

First of all, and if you know me you already know this, it couldn’t be like any plush. I didn’t want to make furry lions, or sweet teddy bears out of recycled sweaters. It had to be different. I was super intrigued by blind box art toys. Especially the artists who were sculpting one simple form, and then re-skinning that form in different ways. It seemed so simple and yet so endless what you could do within those confines. So I started noodling forms and experimenting with what could be done with them.

Where I ended up was certainly really different. Canvas forms filled with beans at the base so they stood on their own. Easy surface to print on, simple shape to sew. Manufacturing would be easy since I’d only be held to a printing minimum rather than a per piece construction minimum. I could make a lot of different dolls without a lot of expense. But it wasn’t “fluffy expected” and it wasn’t particularly “baby”. I didn’t think it mattered. I was going for something beyond expectation.

FINAL: This is Robot Stuf. Because we were funding this line ourselves we had to do it as economically as possible. Can you guess one of our methods? Right. Limited colors on each doll (notice the ON switch on the back isn’t green). But it made it a challenge. So what do you do when you’re limited on colors? Double down and make it work to distinguish each dolls individuality and character.

FINAL: All along It was always this simple. The form on the left was Big Stuf, 12” tall. On the right, Small Stuf, 6” tall. These were the blank factory samples we approved.

FINAL: While some Stuf families had the same patterns on the back of each doll (Robot Stuf all had ON and OFF buttons, Circus Stuf all had a shared graphic pattern), Pirate Stuf all had a bit about each pirate’s personality on the back. My favorite, I think, was the orange Shaggy Dan who was “only a little afraid of the water”.

FINAL: Circus Stuf was probably my favorite family and it was an honor to have them for sale at the Ringling (as in Ringling Brothers) Museum of Art Florida. Pictured with the Circus Stuf family is the Big Top-themed wood and canvas backdrop I later added to the line.

FINAL: Bird Stuf and Developmental Stuf.

I always tell my clients that they need to design their audience before they design their product. I knew I wanted this line to appeal to art-types, and that because of it’s plush category nature, they’d likely be parents. So why not make collectible art plush for children? And that’s when I started working on themes. I went EVERYWHERE and it was SO fun. I eventually landed on five different sets – Circus, Bird, Robot, Pirate, and Developmental. Developmental Stuf was interesting because developmental research shows that babies respond positively to high contrast items. It stimulates their brains like crazy (in a good way).

Side note: No matter how simple you try to make things, it always gets complicated. We had hired a freelance production manager who’d worked for the likes of the Gap and we found a factory who’d manufactured for Disney, yet 75% of our container shipment arrived practically destroyed. Badly sewn, misprinted, stained and unsellable. The 25% we could use was exactly to specification, thank goodness. Entrepreneurs, know this: no matter how much you try to prevent this situation, it’s ALWAYS a possibility. Which ALWAYS sucks. 

I’d always planned to market Stuf in a special way. Like, exclusive special. So I developed a line presentation that would set it up to be museum quality from the beginning. Even the name, Stuf, gave a simplistic European flavor without the fancy umlauts. Each line of Stuf would be a limited series, and a percentage of proceeds would be donated to a specific charity related to each theme. Bird Stuf, for example, would donate to the American Bird Conservatory. Developmental Stuf would contribute to Plan. The idea was for stores to display each line of Stuf alongside an engraved plaque we had made with the charity information. When a customer brought a Stuf doll to the register, the shopkeep would retrieve a fresh product from the back for purchase. It was special art you could buy. And this is an important part of the strategy – perceived value. We set this up to look like each piece (with its charitable contributions and lack of back stock) would retail for $40 each. No. Each of the small dolls retailed for just $12.95. The big ones for just $24.95.

FINAL: Our online retail packaging was clean, simple and graphic, like the brand.

FINAL: Developmental Stuf in NY MOMA.

Finally I get to the REAL strategy part. We didn’t cop to being the creators of Stuf. We were just the DISTRIBUTERS. We never told our stores or any interested parties where Stuf came from. And this is important to building mystique. We build a whole separate website for Stuf and only offered a single Stuf email as contact info. No order forms. No list of stores that we sold to. No wholesale reps to contact to buy it. Nothing. This all lived in the background before we launched at the big NY International Gift Fair.

When Wrybaby did bring it to market, we played dumb. We found this line and we’re the distributors. It was so different from anything else in the Wrybaby booth, it was totally plausible. And we gave it wide berth to attract stores we’d never been in before. Those store were museum stores. Modern art museums. And we got their attention. Before too long Stuf was available in:

MOMA NY
MOMA SF
Contemporary Arts Center - Cinncinati
Walker Art Center - Minneapolis
The Art Gallery of new South Wales
Arkansas Arts Center
Contemporary Arts Museum Houston
Delaware Art Museum
Portland Art Museum
Tacoma Art Museum
Dallas Museum of Art
Museum of Contemporary Art Cleveland
Museum of Contemporary Art Chicago
Ringling Museum of Art Florida
The Getty Museum
The Ackland Museum NC
The Autry Museum
The Bremam Museum
Bay Area Discovery Museum

FINAL: Once the concept proved itself, Stuf got to have it’s own booth at NYIGF. So clean! I wish I had a better camera to document it. :-P

But here’s the best part. Museums liked Stuf, but we pulled the whole third-party distributorship act through to the end. Emails to the Stuf website went unanswered, or a Stuf Staffer replied vaguely. There was no phone number to call. It was like those Stuf people weren’t really interested in selling their plush dolls at all. Stuf’s website was hilariously smug. It was set up like a modern art gallery site. It only listed the products, the museums they were in (which expanded by the week), the charities it funded, and the trade shows it would be presented at. I’ll tell you, I sat on the one museums PO for months until they were calling me every day to fill our their new vendor form and ship them. Why? Sometimes the more you make people want something and the more they have to work for it, the more valuable it becomes to them. It’s the law of exclusivity. Availability works the same way.

Stuf was successful enough to warrant an INCREDIBLE trade show booth dedicated to it. Very artsy. We added cool canvas backdrops to the product line so kids could put on plays using characters from each Stuf theme. Stuf went through another reorder with another factory (much better) and we retired the line to focus on other projects. But I’ve still have the bragging rights to having my art featured in most of America’s major art museums (even if it was in the gift shops).

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

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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

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How to Expand a Magical World.

Design > Product

I’ve said before that your packaging is as much the product as the product is. This is another example of how true that is. If you don’t know, Mysterio makes a baby t-shirt that can predict your child’s future. Kelly and I had just published a children’s picture book about Mysterio and we were looking to expand his product line. Mysterio was always more of a gift for parents than a gift for baby. Sure, the baby got a shirt. But the parents, the baby shower guests and the gift-giver, all got a fun, memorable experience. So why not develop more experiences for them

FINAL: BEHOLD! Mysterio’s Deluxe Keepsake Chest! An expansion of the Mysterio infant t-shirts that predict your baby’s future. It was so fun to play in this sandbox from a design and illustration standpoint. Almost too fun. In the end I made way too much stuff for it. Made it a little hard to explain all the contents!

That’s where Mysterio’s Keepsake Chest came from. It was a deluxe collection of Mysterio’s baby shirt, his book, two fun games, a wooden top, and a paper craft. Over the years, customer feedback told us that people really did keep Mysterio’s shirts once their baby’s grew out of them. How fun to see if the future would eventually come true! So one of the games we developed predicted more specific events – Milestones. At the bottom of the box lies the game board and a heavy card filled with milestones. Spin the top and name a milestone. When it stops, it will point to the age at which the child will reach that milestone. Write it down on the card. Easy! The fun part is discovering that your child’s first haircut will happen at 58 years of age. Yes, all silly, good fun at a baby shower. Flip the game board over, and you’ll find that Mysterio will answer any YES or NO questions you have. Again, ask the question, spin the top, get Mysterio’s answer.

FINAL: SEE?! TOO MUCH STUFF! The tag on the outside had a list of contents (as brief as I could make it), but it still read like a novella. The game board that’s flipping up? That’s two games on one board. Of course it comes with a one of Mysterio’s signature baby t-shirts and his new picture book.

FINAL: A close up look at the Ask-O-Meter! Think of it as a flat, paper, much sassier Magic 8-Ball. I’ve got one of these in our living room and we use it all the time to make YES or NO decisions for us. I like how a lot of the answers end up being sort of confusingly ambiguous/

FINAL: The flip side to the Ask-O-Meter is a fun way to record when your baby will meet their major development milestones. What’s so funny is how horribly wrong Mysterio’s predictions get. First Tooth could be at 51 years, for example. Hilarious.

FINAL: There’s even a little papercraft Mysterio that you can pop on a shelf to keep a mystical eye out for baby. I like the extra credit (which I always say is for chumps) of printing a back to the paper Mysterio complete with all the instructions reversed as well. And here’s a shot of me tying up a box to ship out. I’d do 100 of these at a go and it KILLED my fingers. The things you do for art.

I think my favorite part of the whole thing was the clever packaging. We stuffed the box with wood excelsior so it looked all wild and exotic. We even slid the lid closed to leave some of the curly fill sticking out because it looked so cool. And just like we did on his baby shirt packaging, we let the lid be pretty simple and straightforward. We used a paper tag to really detail all the info. But even the tag was cool because, as the gift-giver, you could clip off the contents part and be left with a nice gift tag to fill out. Then, the giftee could discover the contents on their own. Also, it looked WAY not-commercial that way, too. Oh, and to keep people from getting into the box in stores (I already learned they would try), I wrapped each one with heavy rope and fastened it tight with heavy black wire. It killed my hands (yes, I wrapped them all myself), but it was totally worth it.

When baby was too big for Mysterio things, the whole kit and kaboodle could be stored away in Mysterio’s handsome wooden chest. Someday, far in the future, the child would find it, and have a good chuckle.

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

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How to Turn Iffy QC into an Asset.

Strategy > Mysterio Predicts

Making things sucks. There. I said it. Kelly and I had been manufacturing goods for Wrybaby for years and whether it was done domestically or overseas, it always sucked. It’s just a lot of moving parts that can go wrong. And we weren’t even making complicated stuff! We had our share of screen printing problems in the US and we once had our inventory held for ransom in India WHILE WE WERE THERE VISITING THE FACTORY. Understandably, when it came time to think up a new product in 2005 we were feeling pretty sour. So we gave ourselves this challenge: Can we design a product that, if it arrived all messed up, would still be ok to sell, if not improved, by its defect?

FINAL: This is how consumers meet Mysterio for the first time. Curb appeal for days and all the result of outsmarting a quality control problem. I specified using rough-sawn wood for the crate box knowing it wouldn’t print very well on the front. That way I’d never be disappointed with how badly AND it sets the stage so well for the product.

That’s when Mysterio was born. Honestly. As exotic and fun and popular as Mysterio’s baby tees are, it’s totally one of those really disappointing “How I met my spouse” stories, like, “Oh, we were drunk in Vancouver and hooked up and got pregnant, so...”. Mysterio was a child of past failure. See, maybe you know this, but manufacturing overseas sucks for small orders. The sewing, for example, can be kinda janky even if it’s something the factory specializes in. Like onesies. You’ve got QC, but still some crap sewing sneaks through. Sometimes a lot. The printing is even more iffy: It’s off center, faded or too dark; or smudged because it’s done across town with someone your factory contracted with. Get it? Good luck getting anyone to take responsibility for anything when you see it come back all messed up. And again, that’s on stuff they all specialize in.

So given our challenge, we went rustic. We went old world. Exotic. Mystic. We started with the aesthetic. What could you make that, if it arrived messed up, looked like that was intentional to reflect being handmade, or primitive, or of exotic origins? And how would that product relate to a new baby (which Wrybaby specialized in)? 

At this point in our own parenting adventure, we were past the “how will we keep it alive” phase and entering the “what will it be someday” phase. So, I don’t know, it became sort of a no-brainer to make the connection. What if we created a garment that told the baby’s future? It could come in a printed bag that was sealed, so you didn’t know the future until your opened it? What if we built it up to make people think the futures would be amazing and then they weren’t? What if they were kind of hilariously odd? Like, how you can wonder sometimes how anyone grows up to find their passion as a Shrimp Boat Captain? Or a Romance Novelist?

FINAL: The current product packaging, front and back. We’d added the grommet to give our stores more display opportunities. You can see how the printing on the front is a bit off-center (a bit too far to the left). If it was on an envelope or a box, I’d be pissed. But because we used a sewn bag, you totally forgive it.

FINAL: Clip the bag open and VOILA! Your baby’s future. Boom.

It all unfolded from there. We didn’t even test it. We just went all in. We developed a wood crate display for stores with tons of curb appeal. It’s made by a US company who is AMAZING, but still, their shipper dropped our palette and half of the crates splintered, cracked or flat out broke. DIDN’T MATTER! In fact it made them better. They looked like they were just thrown off a boat from Cambodia.

The product itself is a little complicated to explain, being so unique. It makes a bit of heavy lifting for the little muslin packaging, but here it is: Mysterio predicts your child’s future on a t-shirt. There are 12 possible futures (which, btw, we change up every year) and each future is sealed in a muslin bag. Clip open the bag to reveal your baby’s future. 

In 2005 people weren’t very trusting that the futures wouldn’t be something stupid, dirty or terrible. So, we listed all 12 futures on the lid of the display crate so customers knew what they were in for. Eventually, we put the futures on the back of the bag (for reasons I mention in another article.) We succeeded in creating an amazing baby shower gift that was memorable because of great suspense and theater it created at parties. And talk about having a keepsake for that child to discover decades later when they really achieve their career goals! Creative moms-to-be have even used Mysterio Tees to let their husbands know they’re pregnant. Boutiques around the world found that Mysterio customers became steady customers, as Mysterio became the proven go-to baby gift. One boutique told us that Puff Daddy sent his personal chef (why the chef we’ll never know) to open all the Mysterio’s in the shop until he found Criminal Mastermind. He paid for everything he opened and left with his prize.

FINAL: Mysterio’s money-back guarantee along with some product extensions. His deluxe Keepsake Chest, his picture book, and even little freebie goodies like a papercraft Mysterio you can consult in times of indecision.

Over the years we’ve tinkered with Mysterio here and there. In the beginning all you had to do was pull the string to open it, but too many people just opened them in stores until they found one they liked. So now you have to cut it open. We added a silly guarantee the your future will be accurate by the time they’re 70 (and even still there’s a ton of impossible legal stipulations). We even released a limited keepsake box full of games, an inspirational book about Mysterio, his t-shirt and even a paper craft doll Mysterio doll to guard your child’s aura. Mysterio continues to delight, and I’ll be sure to update this post soon. He’s got some new, amazing products in the works as I write.

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

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How to Make Fun of the Helpless.

Illustration > Safe Baby Handling Tips

Fun fact about my book, Safe Baby Handling Tips: That’s me and Kelly in all those drawings! We were living in SF and I was doing a rockabilly thing with vintage red tab Levis and no handlebar mustache. You can see Kelly go through a couple of hair styles between Safe Baby Handling Tips and its prequel follow-up, Safe Pregnancy Handling Tips. I’ve written about how we came up with the idea, but the intention of the drawings was to mimic instructions for power tools. Not airline emergency instructions. Not IKEA assembly instructions. There’s actually an important distinction here.

FINAL: The first edition of the book in question – Safe Baby Handling Tips circa 2005. Look at that handsome rockabilly devil, will ya?

FINAL: Like painters in all the cartoons who paint live models, illustrators use photos for reference.. We call it “scrap”. Before computers, I knew illustrators who had rooms full of file cabinets packed with torn out magazine pages, photos, all kinds of scrap (see!?) paper with stuff they could reference in their work. I like this photo because of the baby laying on the ground behind me. Looks like I totally missed!

FINAL: A couple of my favorite panels. It takes people a while to see what’s so wrong about Shopping with Baby, which is fun to watch. Drying Baby is so moronic and mean it never fails to crack me up. Same with the Lifting Baby detail (what a grip!). Oh, and a little something from Nursing Baby to keep you up at night. Yep, that’s me. I’ll spare you the scrap I shot for it.

FINAL: Another true life adventure in scrap shooting (courtesy of Bonding with Baby). And two of my favorite Kelly panels. She cut her hair short in the middle of the project and I kept it accurate. So when you read through the book you can tell what was done first and what was done later. Don’t ask me why all our furniture was labeled.

My dad and my granddad always taught me that you have to respect your tools. You understand their power and never forget that you need to be mindful when using them. Let your mind wander, and bad things can happen. That’s what I thought about when we had our baby. As long as you stay mindful and not be a moron, no one will get hurt. It’s a weird twist, but you follow me, right?

If you read about the strategy behind Safe Baby Handling Tips, you know I didn’t have a lot of time to mess around drawing these. They’re simple, but they had to be realistic enough to need scrap for me to work from. Because what I’d do if I had time is take photos of people recreating the actions and then draw from that. I did that, but then traced the images in a stylistic way so I could scan them, clean them up in Photoshop, turn into vectors in Illustrator, and then pop them into frames fast. The stuff I couldn’t shoot, I just drew freehand which turned out to be pretty efficient.

COMPS: of course there were a lot of ideas that didn’t make the book for one reason of another. When we did the 10th Anniversary update/expansion we had to nix some panels because technology made them obsolete. They just don’t make TVs like that anymore and we didn’t feel like a flat panel would be as funny. And somethings our editor at Running Press nixed to save us from ourselves. Co-Sleeping is too scary and real a problem, for example. And even though we have a booze related panel (Calming Baby) it was not recommended where this one we flipped it to be the YES. Bad. And I added some that were just shitty for fun. That’s a string of firecrackers I’m lighting over there for the unpublished, Teaching Baby to Crawl.

FINAL: New directions for Safe Baby Handling Tips. Clockwise from top left: 1. If dogs are the new children, a Safe Dog Handling Tip series seemed appropriate. 2. We played with the idea of offering our Handling Tips on adult apparel, canvas totes, and even pillowcases, so we made some useful usage tips for those fine products. 3. I picked something at random to see if the formula would hold up. HI-YA! It did. 4. This was the big NO on how to use a SBHT coffee mug.

I later tried my hand at expanding the Handling Tips concept to other things to see if the idea had legs. Karate, Dog Ownership, that kind of stuff. I think the baby is the best foil just because of the original power tool reference. For some gross reason it’s funniest when the person who could get so seriously hurt is the small helpless person who least deserves it.

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

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How to Not Destroy a Baby.

Strategy > Safe Baby Handling Tips

Are you a parent? Let me tell you, it’s terrifying. Scary at the least. If you are one, you know what I’m talking about. You’re so nervous and excited and, well, clueless. Because if it’s your first, you have no real idea what you’ve gotten yourselves into. And that’s a fact that becomes more and more clear as you careen toward your due date. When Kelly and I were expecting, I was just scared. She was terrified.

FINAL: The cover of the expanded version of Safe Baby Handling Tips. On the cover is a miniature, simplified version of another product I designed for Wrybaby – The Wheel of Responsibility.

When I was 14, my parents decided they missed being parents (of really small, helpless people). So, they had my brother Josh. Then my sister, Lindsey, three years later. So being in middle school through high school with a couple of babies in the house would prove really helpful to me as a soon-to-be-dad. I knew how to feed and burp a baby, change diapers, and all that jazz. Meh, just like ridin’ a bike. I was in no way emotionally prepared (and who is the first time) for the shock of full time responsibility, but at least I had some exposure in the field. Kelly had none.

We did all the things you do as expecting parents. We read scary articles online, we bought books that were thick and boring, or thick and scary. We were the first of our hipster advertising friends to have a baby, so they were, hilariously, no help at all. We went to baby care classes, and to the requisite Lamaz classes. And finally, our hands about all wrung out, Kelly went into labor and everything changed. 

 Sorry, changed for the better, I mean. Kelly and I soon discovered a few important truths.

1. Across the span of human history, all new new parents feel the same

2. Caring for a baby is difficult, but it’s manageable and only gets easier with time

3. You’ve got to be a fucking moron to really mess this up

REVIEWS: Our Amazon reviews are hilariously amazeballs.

TRUE: The only foreign translation of Safe Baby Handling Tips – German. Take a look at that title on the cover! Hahahaha. Do I have to tell you I had nothing to do with the layout? So bad!

That last point, especially. That’s where Safe Baby Handling Tips came from. Look, as long as your intentions are good, and you’re a somewhat stable person, you really aren’t going to mess this up. At least not in the beginning. Oh, you’ve got all the time in the world to unintentionally destroy your child emotionally. But in the first year? Nah. You good.

We’d conceived (see what I did there) the concept of these “handling tips” about a week after bringing our new son home. Each illustrated tip was printed on a newborn item: a onesie (Playing with Baby); a hooded towel (Drying Baby); a diaper cover (Checking Baby’s Diaper); you get the idea. It’s very simple. Each scenario shows you a common parenting activity and what kind an absolute idiot you’d have to be to mess it up. Sort of gives you some perspective, no?

Anyhoo, we were in Wrybaby’s booth at the New York International Trade Fair when a couple of reps from Running Press strolled in. They asked me if I had any more of these tips to fill a book. “Of course!”, I said. I didn’t. But I sure did a week later when we sent them the packet of illustrations that would eventually become Safe Baby Handling Tips.

To date, Safe Baby Handling Tips has sold over 120,000 copies. It is also well reviewed on Amazon. The book has been translated into German because if anyone knows anything about comedy, it’s the Germans. And the illustrations have become an stubbornly enduring meme on the internets much to our pleasure and dismay.

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

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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.

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

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How to Market a Product No One’s Seen Before That Solves a Problem No One Knows About.

Strategy > Branding

OMG the world needs this early-development technology. I’m dead serious. But even though this revolutionary wearable looks simple, how it works is actually pretty complicated. And did I mention the results aren’t immediate? (Just wait, I’ll get there). But one thing is absolutely clear – the result of using this technology means your child will get a substantial educational head-start over his or her peers. That head-start begins in infancy, and keeps distancing your child ahead of others for life.

PRODUCT: This is the Starling. So tiny, so cute, so powerful.

FINAL: One of the first things I made at Versame – a 6”x9” two-sided handout for parents touting the Starling’s benefits.

The great advantage of doing what I do at this point in my career is being able to choose the projects I work on, and the people I work with. I really liked the people at VersaMe before I even knew about the product. Chris and Jon, two of the company’s founders, contacted Kelly and I out of the blue. They had left Silicon Valley like we did, and now lived just a couple of towns down the I77, in Huntersville. They explained that they were fans of our parenting board book, Safe Baby Handling Tips. In fact, the bit about Playing with Baby was one of the early slides in their investor pitch for a startup they were launching with a third partner, Nicki “The Money” Boyd (the nickname I gave her). Nicki controlled the finances and managed the development team back in Redwood City, while the rest of the team worked out here in NC.

BEFORE AND AFTER: The original packaging on the left didn’t communicate the product or it’s value. My redesign on the right led with the value proposition and steadily unfolded the whole story in easy-to-digest snippets.

Kelly and I met Jon and Chris for coffee and they explained what they were making. They had a passion for early education and learning (it ran in their family). They knew that the education system was not only broken, but historically broken and getting worse. From studying years of scientific research they concluded the only way to nip the problem was, literally, in the bud. They sought to jump-start the learning process as early (and as correctly) as possible. This was the problem they worked on at Stanford and they already went through a successful round of funding. The hardware and development infrastructure was built, and they were about to launch on Kickstarter. The three had a lot of the planning done (and it was good) but they asked us on to help them out with tightening up the branding and early messaging. That’s when we learned all about the Starling.

The Starling was a beautifully designed, high-tech wearable for children 0-4 years old. When you clipped it to your child’s clothes, the Starling would count every word spoken to your baby throughout the day. It did this in virtual real-time, without recording, and sent the data to your phone with beautiful graphics telling you how many words your child heard that hour, that day, that month, that year. It let you set word count goals to challenge you every day. Anticipating how hard it can be to carry on a one-sided conversation (Chris and Jon were also parents), the app gave you fun daily prompts to help you keep talking to your baby at every occasion - in the car, during your afternoon run with the jog stroller, at bedtime, etc. Feeling competitive? There was even a leader board that you could use to see how much quality engagement you gave your child compared to other Starling parents. Amazing, right?

I bet I can guess what you’re thinking right now. “Why?”

Why all this technology to talk to a newborn? It’s not like I’m NOT going to say anything to my baby, so why all the extreme fuss? You’re not wrong to think that. But here’s a big fact – the more words you say to a child from 0-4 years old, the more likely they are to reach their full potential. And the “to” is super important. You can’t just talk “at” your child, like over your shoulder while you’re doing the dishes. No, doing that doesn’t work the same way. Think reading, with the child on your lap. Or telling a story while making lots of eye contact. There you go, that’s the right stuff. It’s about engagement. Feed a child’s brain enough words like this and soon you’ll find yourself with an early talker. Then while other babies are still learning to talk, yours is busy learning to read. Get it? And while other people’s kids are learning to read picture books, yours is reading chapter books. This goes on for their whole life!

FINAL: For professionals who already understood the importance of verbal communication, I created this “bookshure” to introduce them to a powerful new tool – the Starling.

But understand this – doing all this talking with engagement doesn’t mean every child can grow up to be Einstein. It’s all about maximizing your child’s genetic (not economic) potential. If it’s only within a child’s genetic capacity to be average smart, they’ll get there faster and stay there for life. This can make a huge difference to a child’s quality of life, considering where they could end up without the benefit of this help. And I can’t stress this enough – I’m talking about  ALL children. Not just poor children. Or special needs children. ALL CHILDREN. (If you’re a parent reading this, please note your feelings right now. I’ll get to them later). 

Finally, dear reader, here lies the rub. Look how long it took me to explain the Starling to you and the problem it solves. My expertise in working with clients in San Francisco was taking really complicated concepts and making them dead simple for a consumer (best example here). I worked on the Starling for two years and what you read above is the shortest I think I’ve ever gotten the complete pitch. So as a marketer, here are your options:

1. Explain how The Starling works, and then explain why it solves an early-education problem you didn’t know existed

2. Explain how you need to talk to your baby as much as possible from 0-4 years old, and then explain what the Starling is and how it could help you do that

You can’t do one (explain the Starling) without the other (how early development works). 

The three founders had become early-childhood experts, for real. And their research scientist, librarian, pediatrician, speech language pathologist, mentors and partners were all in touch on the regular, keeping tabs on the Starling’s progress and correcting messaging when necessary so that everything stayed absolutely factual. We needed to look like experts, but not scientists. The messaging had to be intriguing, inviting and fun – but not misleading or fantastical.

FINAL: A one-sheet for interested schools to get a little more detail on how the Starling can help their mission.

The Kickstarter launch was a success in that it did what we needed – raise as much awareness as cash. (As I said, VersaMe was already funded by an investment group). Our mailing list blossomed. Sales started coming in. But that’s when the real work began.

I’ve worked on big tech in San Francisco. A lot. Sun Microsystems, Borland, Sybase, Veritas, Dell, Adobe, blah blah blah. That’s not including all the dot coms. I was there for the first big boom, and the first big bust, working freelance for almost every agency in the City. Startups are different. It’s EXACTLY like in the show “Silicon Valley” (the first season, anyway). It’s crazy and confusing and exciting and hilarious and scary and frustrating and fun as hell. You’ll NEVER pack more work into a shorter span of time than when you work for a startup. Because even though we were focused on who we were, and which audience we were talking to, we were saying it all - in every conceivable way. And we had practically no budget to do it with. Even though there was $10M in seed money, you gotta watch like a hawk how you spend it (right, Nicki?). Because it’s only going to last so long. So we were begging, borrowing, and stealing while testing the messaging multiple time a day, every day, everywhere. And once we saw progress in any direction we’d run after it full speed.

There’s no way I can ever tell you everything we did. It was so much! But one of the first things  was to use everything that inspired the creation of the Starling to build a giant online resource center for new parents, filled with published studies that prove the benefits of direct, verbal communication. Then we published articles and how-to’s on our blog everyday giving tips on how (and why) to maximize your baby-talking skills. Our newsletters were going out weekly to new parents, filled with communication tips and info on developmental milestones. I found out that the founders had invested in a HUGE AdWords ad buy that included a lot of YouTube videos. I had two weeks to deliver finished product and there was nothing in the works. We set up tents in shopping malls and Nicki and I did the ABC show in Vegas (to have a meeting with Barnes & Noble, who said no, then inexplicably sent us a huge order two weeks later). We got into a hipster tech showroom in Silicon Valley. I totally redesigned the packaging. I made an online school for new parents. We developed a custom Reading App that you could use with the Starling. We hired influencers on social media. We created a mobile app game based on the Starling. We brought on a respected social media agency to give it a go. We. Tried. Everything.

WORK: And lots of it! This is probably about 2% of the things we did to position, explain, and sell the Starling. Clockwise from top left: Dumbing it down, we created multitudes of info-loaded landing online campaigns and landing pages, we created and ran an online school, we sent the founders to present at indie book stores, parenting groups, schools and libraries. I made a Starling Honors program for little students, we made an educational mobile game, we tried multitudes of simple online campaigns and landing pages, we gave away free information (so much free information), we changed the whole website, we started marketing the platform the Starling was built on, and we developed ridiculously complex email newsletters and campaigns.

Nothing worked. At least, not on the level we wanted it to. It was just too much for people to wrap their heads around. Most thought it was a great product...for terrible parents. And of course, THEY were all excellent parents. There’s actually a study that exists which found 90% of parents thought they were parenting in the 5th percentile of awesome parents. Which, of course, is mathematically impossible. So we pivoted to focus on Starling Partners – schools (public and private), libraries, speech pathologists, pediatrician clinics, non-profit organizations. Frankly, any group that already understood the importance of early learning. Most ended up being too outright dysfunctional, painfully slow to act, or too strapped for funds to make a difference to our bottom line. Our biggest success came from developing a program for libraries to loan Starlings out to patrons. We got ourselves into a lot of libraries but not enough, and not fast enough. In the end we had to stop. There was nothing left to try. This amazing technology is now in the hands of the scientific researchers who inspired it. They’re using it to further understand how we can make our children better, smarter, happier people. I’m 100,000% sure that someday you’ll see this product (or something like it) make a huge consumer splash in the future. Sometimes a good idea doesn’t make it simply because of something that no one can foresee or control  – timing.

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

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How to Make Everything Come from One Place.

Design > Posters

Before we started working on the branding, Downtown Mooresville had just scheduled an exhausting number of events to draw traffic. Cruise-ins, Art Walks, Food Trucks, Farmer’s Markets, so many events. At some point the Executive Director of the Downtown Commission and I likened the Downtown Commission to a corporation that runs a mall. All the vendors can be themselves in the mall, with their own advertising and signage and what not. But if they did any advertising, they’d do well to include the Downtown logo. Because that’s where people could find their shop. Look, tell me the actual address of your local mall. Right? Or neighborhood even!? The same thing goes for the events. They were all wildly different, but at least now, they could identify as being held in this “mall”.

Anyhoo, I’ll shut up and throw a bunch of Downtown posters at you now. Enjoy!

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

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How to Plan for Every Little Thing.

Design > Identity

Here’s how long I’ve been in the business: rebranding projects would start with the logo and follow with the stationery. Hahahahaha! Remember stationery? No? Ahem. Well, it’s still useful. It is! Ok, what’s most useful now is your email signature, and the way your company’s bill looks, and the envelope that carries it. That’s right, the junk drawer of identity. But it’s super important! Because any of those things can be the loose thread in the sweater. Someone in billing gets the idea to pull on a thread and everything unravels. I’m not being dramatic. I’ve seen it happen. Lots.

FINAL: This whole project had to be done as economically as possible for a lot of reasons. So a clean look worked well in more ways than I thought then we got to the fleet graphics. I worked with the wrap company to design these things for maximum gangability in printing.

That’s why we were sure to have plans for the junk drawer stuff when we rebranded Continuum. We wrapped all our rules up in a detailed book of design guidelines so that any other vendor or employee could refer to it if they got the hankering (and preferably, permission) to make some Continuum materials on their own.

Fleet and building signage are far from junk drawer material because they’re so visible, but it’s a specialized use of the new identity. Do you know what it costs to wrap a van? It’s crazy expensive! And Continuum had 60+ various vehicles that needed to be rebranded. So I teamed with the signage company they picked so I could design graphics in a way that would let the printer gang up the job, maximizing the wrap material to its fullest. It helped a LOT to have a clean, white identity, letmetellyou . It was a bear to figure out, but fun at the same time. And guess what? The less wrap material you have on a vehicle, the longer it’ll last. The vans were all stripped and detailed (to get rid of ghosting from the old brand), and redressed in their fancy new graphics. Two years on they still look as good as new.

FINAL: While the building now looks WAY better than it did, I wish the graphic service bands weren’t so boring and straight on the building. I had comps of the bands organically swirling and looping their way across the building, but everyone wanted to play it safe. It also made it cheaper to have it painted. Those blue marks on my mock-up up top are to show stupid town planning that we were complying with a signage code that said we could only use 20% of the buildings surface.

Continuum’s HQ (formerly MI-Connection) was always kind of a dump. Situated in a virtual hole next to a tall railroad berm, you couldn’t really see it from the main road. They’d had a tall pole with a tiny lit rectangular sign atop.  We had to ask Mooresville’s planning department to replace it with something a little taller. They said no. So we tore the sign pole down completely and turned the whole building into a sign. Fuck you, planning! We painted the whole building a bright, clean white which made it WAY more visible to traffic. And the existing architectural lighting made the thing glow like a shiny new Apple store at night. 

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

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How to Rebrand a Company and Make Your Trademark Lawyer Happy.

Design > Logos

MI-Connection, our small, local cable, Internet, and voice client, needed to rebrand with a new name and logo that projected authority and reliability. Our competition were all well-known, out-of-town players: Time Warner, Dish, and Windstream – big and personality-less, it was still a no-brainer they could handle your personal and/or professional digital life. Plus, everyone already knew them.

Discovering a name that is appropriate for a business AND sounds super cool is, well, hard. What’s harder is clearing your super-cool-sounding, appropriate name with legal. Obviously, you can’t start with legal, so you have to have fun thinking of a lot of names, knowing that most of them will go straight into your trademark lawyer’s trash can. To help us spread our thinking out, I made a little graph to work to. 

FINAL: Here’s where we finally ended up! I love the branding process because when the thinking is right, and the work is both responsible and good, you can’t lose no matter what logo the client chooses in the end. I had no idea we’d end up here until we suddenly did. Everyone’s input really put a lot of confidence behind the final final because everyone had ownership.

IMPORTANT GRAPH: So simple, yet pretty useful! On the far left you’ll find names like COMNET or TELEWEB. Stuff that you’ll never get legal clearance for. On the far right you’ll have names like NIMBL or ZING. Crazy names that no one would pick for a communications company. What we wanted (and where we’d end up) is to be just to the left of the “Legal Gold” line in the middle.

On the far left are names you’d expect a cable company to be called. On the far right are crazy ass names that don’t mean anything. Now, the further you get to the left, the more legal trouble you’re going to get into. Same as trying to buy a domain nowadays, it’s next to impossible because all the cool stuff is already taken by similar businesses. The more you go to the right, the more you’re clear with legal because at the far end, these words are silly or completely made-up. Tech-startups thrive in this area with all their misspellings and chicanery. We needed to be in the middle-left. We weren’t a crazy little startup. We needed weight, authority, and familiarity. We started with 300 contenders and it was (painfully) narrowed to 10 before we flung them to our amazing attorney. Three survived and after a few rounds of visual concept boards, we had a winner we felt did the job – Continuum. As we saw it, that’s where your digital life thrived – in the Continuum. We were invisibly working to keep you connected to all the extremes in your life – Work and Play, Family and Friends, Sports and News...and everything in between. The only question was, and this is terrible but true, would people be able to read it and say it? It has two “U”’s after all. So we went out and filmed local folks from the three towns reading the word off a card. They did great, the board was convinced, off we went.

COMP: Once a winning name popped out of legal (Continuum), I could get to work designing marks for it. These are from the first round of black and white ideas. Early on we thought we’d need the name to be Continuum Network, so that’s why you see the “N” in some of these. In the end we decided against it. I still like all of these except the pixelated C on the bottom row. The head of tech at Continuum said it looked like bad reception and we said, “Damn. Good point!”

COMPS: A look at some of the logotype ideas we presented. In the end we nixed this direction altogether because I was nervous about ending up with a problem we had with the old MI-Connection logo – it was so long and skinny that it needed to be really big all the time to be legible. Even thought the one on the bottom right is not as long as the rest, it’s complicated with the dots, so same problem.

Continuum’s logo had to do the same thing the name did: project strength and more than a little corporate backbone. It had to look reliable like it’s got big money behind it, but somehow a be a little, I don’t know...quirky? We presented a LOT of logo / logotype options. All in black and white at first so we could concentrate on how their form alone made us feel. Narrow it down to three and add some color for each.Then the favorite color pallet on all three logos. The three go off to legal, and one came out a winner. The C with the radiating, Wi-Fi-like bands wasn’t the most out-of-the-box idea, but man, it worked so hard doing what we needed done. Especially the familiarity part. It doesn’t take a genius to see that phone service isn’t very important to folks, cable is tanking fast, and Internet is still the future. So if you take away anything from this logo, it should be that we supply Internet. But the bands are different colors, and each color represents a service we provide. And those service icons are locked up with our logo. And eventually, after enough exposure, we’d be able to use just the C at times to communicate our brand, which will be kind of cool. 

COMP: Once we decided on a short list of logos, in come the colors, along with some idea of how it would all live in the wild. A word about color – it had a job to do as well. Because the name and logo was corporate and reliable.and the messaging would push “we’re local”, we needed our color palette to be the bridge between those two things. The colors had to say, we’re respectable, but uniquely different.

BEFORE AND AFTER: On the left is the old logo and to the right is the new brand we created, name and all. I’d had to work with the old logo for years and it was such a pain. There were no variations of it. Not even an all-white knocked out version! So everywhere we used it had to be on a super light color and it had to have LOTS of horizontal room if it was going to be big enough to be read. I was sure to design some flexibility in the new brand I created.

COMP: This is how what we now call the “service bands” could work in the future – playfully weaving in out of our ordinary lives. Quietly busy in the background keeping us connected to the things that are important to us.

I mentioned above that in the Continuum was where our digital lives flow. Through this, and the color-coded services, we got a fun little bonus idea: Why not illustrate the services we provide as bands flowing through the air around us? We explored all kinds of fun ways to use this graphic in the ads (you can see those here) and it gave us an extra bit of brand imagery that we could either pull forward or drop back in the future.

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

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