155
Text Black
n
“Focus on your target audience,” advises Blu Concept’s Rich-
ard Klingle-Watt. “Get inside their head and turn them on in
an unexpected way. Get them excited about the possibilities
and opportunities that you can offer.”
Through collaborative endeavors, creatives are unfolding new-
found promotional possibilities when it comes to campaign
initiatives. Group-inspired promotional endeavors draw from
the collective energy, skills, and wisdom of each participant
involved. Because the fi nancial and work responsibilities are
divided among the group, a collaborative campaign allows
for the exploration of avenues far more outstanding than
what any one participant would have the budget, time, or
resources for. When illustrator Chris Sickels of Red Nose
Studio collaborated with the designers of Planet 10 and the
high-end printers Quality Printing and D.E. Baugh (See page
156), the results were nothing shy of inspirational, uplift-
ing, and rewarding for all involved, garnering a great deal of
attention both nationally and internationally “Working with
the right people with the right passion for good work can
push your work above and beyond,” says Sickels. “Everyone
involved in the project made it better. The designers helped me
see the project as a whole while the printers had the ability to
create a piece with the attention to detail that would carry my
vision throughout.” With a captivating and engaging design,
a personalized and distinctive message, and an accurate and
well-targeted mailing list, campaign initiatives can be a great
way to go after new prospects as well as generate repeat busi-
ness from existing clientele.
CAMPAIGNS
Rather than relying on any one venue to deliver their
message, creatives are penetrating an audience on many
fronts. Well-crafted campaigns are being employed as an
effective way to make a long-lasting impact. “If you meet me
once, chances are you may forget me. If you meet me three
or four times, you are more likely to remember, and not only
that, I’ve probably formed some unforgettable impression
in your mind—good or bad,” acknowledges Ric Riordon of
Riordon Design. “Making the right impression has a lot to
do with being sure you’ve carefully planned for it.”
When designing a campaign, think in terms of creating an
experience for the audience. Like a director of a theatri-
cal performance, you need to set the stage, defi ne the main
characters and their roles, and ensure that the storyline plays
out in a captivating way. “Within the last few years, markets
have become much more complex, requiring us to design
more strategically,” observes Riordon. “More than any other
time in recent history, there is a challenge to custom-tailor
the experience in a promotional effort”.
Instead of approaching a broad spectrum of clients with a
series of generalized promotions, narrow your targets to
a select group, creating a more personalized initiative that
speaks to clients in ways that matter to them. “People like to
be addressed personally,” comments Aleksandar Mac´as˘ev of
Black Pixel (Folie a Trois). “Communicate to someone you
know, and your audience gets a message from a friend.” The
best campaigns customize to the needs of the recipient.
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156
innovative promotions that work
Inventive Storytelling
Firms Planet 10, Red Nose Studio, and Magnet Reps
Creative Direction Mike Tuttle and Jennifer Tuttle
Design Mike Tuttle and Jennifer Tuttle
Illustration Chris Sickels
Photography Chris Sickels
Printing and Bindery Quality Printing
Special Techniques D.E. Baugh (silkscreen printing, die-
cutting, and embossing)
“ No one was really paid to be involved.
Everyone either traded their time or
donated it. We did this project because it
gave us an opportunity to collaborate on
something special and larger than any of
us could have done ourselves.”
—Mike Tuttle, Planet 10
OBJECTIVE Planet 10, Red Nose Studio, Quality Printing, and D.E. Baugh were
looking to produce an inventive promotional campaign to function as a showcase
piece, exhibiting—in an interesting way—innovative design, signature style three-di-
mensional illustration, and high-end printing and bindery. It also needed to be memo-
rable, something prospective clients would want to hold onto.
AUDIENCE The illustrative campaign was sent to advertising agencies, design fi rms,
and children’s book publishers. In addition, the communications industry trade pub-
lications were also targeted through competitions and annuals. Two thousand books,
posters, and fl ipbooks were produced and distributed. The collaborative team is cur-
rently working on a follow-up piece—a character-based calendar—to round out the
distinctive ensemble.
CONCEPT The overall concept was produced to show off excellence in illustration,
design, printing, and bindery in a promotional campaign. To generate local atten-
tion, an exhibition was created to display the inventive and highly creative work used
throughout the project. Flipbooks and posters were sent out as invites to the event. A
short stop-motion fi lm was also created and debuted at the exhibition opening.
MESSAGE Experience and be excited by the perfect synergy of design, illustration,
printing, and bindery.
RESPONSE The truly creative campaign has been very successful for all involved. It
has won numerous awards, most notably the Best of Show in both the HOW Self-
Promotion Annual and the Society of Illustrators 3D Salon. The work has also won
merits in the Society of Illustrators’ Annual, Print’s Regional Design Annual, HOW
Perfect Ten Competition, HOW International Design Annual, AIGA’s Regional Design
Competition, and Applied Arts Annual. It has also generated calls from clients as di-
verse as a small regional magazine to a large Hollywood special-effects company. Each
collaborator is still receiving requests for this highly coveted project.
fi g.
1.1
Invitational posters, machine-stitched
closed with red industrial thread, an-
nounce the exhibition of original art.
The interesting bindery echoes the
book binding and helps play off the
overall red thread theme.
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0
Campaigns
fi g.
2.1
On the inside, engaging pop-ups, interesting
die-cuts, clever embossing, and spot and full
coverage varnishes bring life to each spread.
fi g.
2.2
At the end of the book,
a paper doll of the main
character is available for
interested parties to as-
semble and enjoy.
fi g.
2.3
The cover of Hey Fred!
Nice Red Thread is silk-
screen-printed in white
on 12-point Fibermark
Touché Black, embossed,
and custom die-cut.
fi g.
2.4
The book is perfect-bound and
machine-stitched with red thread.
fi g.
2.5
The whimsical use of hand-lettered
type makes the piece truly a signa-
ture work.
fi g.
2.6
It is presented in a black case
and double hit with ink for a
nice even coverage. A Velcro
enclosure allows the case to
be easily opened and shut on
each viewing.
fi g.
2.7
A gray envelope with
signature graphics is used to
house all the materials for
shipping.
fi g.
3.1
Each engaging, animated fl ipbook
is printed in four-color process
throughout. It functions as a follow-
up reminder of the exhibition and a
sneak-peak into the project.
157
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158
innovative promotions that work
Firm Spiral Design Studio, LLC
Creative Direction Robert Clancy, Lauren Payne,
Neil Wright, Jeanie Guity, Maureen Mooney,
Gina Brittain, Anne Hobday, and Liz Katzman
Design/Illustration Robert Clancy, Lauren Payne,
Neil Wright, Jeanie Guity, Maureen Mooney,
Gina Brittain, Anne Hobday, and Liz Katzman
Photography Various royalty-free stock
Printing Benchemark Printing (postcards) and Xerox
Phaser 7700 (vellum interior sheet and insert cover)
Manufacturers The Chocolate Gecko (chocolates),
Palacek (red case), JKM Ribbon (cranberry ribbon),
Jennifer Papers (pebble paper), Zone 5 (gatorboard),
Fire Mountain Gems (leather strap) and Specialty Box
& Packaging Co., Inc. (crinkle-cut paper)
“ Critical to a promotion’s success is its
power to provide recipients with a
positive, memorable, and multisensory
experience. Personalization and hand-
made elements immediately engage
the recipient. We never underestimate
the value of a sensory experience and
get far greater response with a soft-sell
approach.”
—Robert Clancy, Spiral Design Studio
In Search Of
OBJECTIVE Spiral Design Studio wanted to develop a distinctive, imaginative year-
end promotional campaign that truly expressed the passion and personality of the
design team in hopes of inspiring adventurous collaboration with clients.
AUDIENCE The promotional campaign was distributed to current and prospective
clientele. One hundred and fi fty were created. Additional promotional elements were
retained to be used as needed throughout the year.
CONCEPT Inspired by the world around them, the design team set their sights
on travel and exploration to entice recipients to take a collaborative journey. The
two-part campaign starts with an illustrative travel map sent to intrigue and pique
curiosity. It alludes to a worldly journey to come. A customized travel case, personal-
ized with the recipient’s name, is sent as a follow-up to reinforce the overall travel
theme. Inside the vibrant red leather case is a brass compass asking recipients to
discover their true North. Also enclosed is a series of custom postcards of various
destinations, beginning with Spiral Design Studio as the stating point. Each card is
created in a distinctive style, showcasing the diversity of the design team. Under the
compass, a secret message is printed on translucent paper that reads, “Savor the
Journey.” Behind the message is yet another layer, a delectable array of molded white,
dark, and milk chocolates sealed in customized wrappers reminiscent of vintage travel
stickers. The entire ensemble encourages recipients to explore a new direction.
MESSAGE Take a journey to discover your true North, collaborating with Spiral
Design Studio to assist you in the navigation.
RESPONSE The distinctive promotion received countless emails and phone calls
from clients and prospects, complimenting the fi rm on their ingenuity and creativ-
ity. The campaign also generated a substantial increase in client requests for unique,
three-dimensional marketing collateral. The promotional endeavor was featured in the
HOW Self-Promotion Annual and won a NORI award from the Albany Ad Club.
fi g.
1.1
A colorful image-driven
map, printed in-house on
Fraser tallow 80 lb. text,
comes hand-tied with a
red leather strap.
A
C
3
re
th
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e
fi g.
2.2
The red leather vintage
travel case is customized
with colorful postage-
stamp-size images of vari-
ous global destinations.
fi g.
2.3
To personalize the luggage,
a passenger identifi cation
tag is attached to each
case with a
1
/8” (3 mm)
black fabric elastic band.
fi g.
2.1
Inside the velvet-lined case, a brass
compass is embedded into black
gatorboard and topped off by a
map with motivating copy, encour-
aging the recipient to discover their
true North. A cranberry red ribbon
tied on one end accents the piece.
fi g.
2.4
A message, printed on
Chartham Transluscents
30 lb. vellum in spring ochre,
reminds recipients to savor
the journey.
fi g.
2.7
A series of accordion-folded
custom postcards, printed
in four-color process on one
side and black on the other
on Mohawk Superfi ne Ultra-
white stock, are enclosed
inside a handmade turquoise
blue pebble-paper wrap.
fi g.
2.5
The postcards are held in place
by two black
3
/8” (1 cm) fabric
elastic straps permanently
adhered to the inside top of
the vintage case.
fi g.
2.6
An array of chocolates—white,
dark, and milk—are sealed in
customized gold wrappers,
reminiscent of vintage travel
stickers. They sit on a bed of
cream-colored crinkled-cut paper.
Campaigns
159
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