AMERISTAR REBRAND CAMPAIGN
The casino industry is constantly refreshing their brands based on the conditions of the economy. The goal is always to attract more gamers, and allude to the ability to "get away", even if it’s only locally. One of the most prominent casinos in the Mid-West is Ameristar, formerly owned by Boyd Gaming.
Our team was asked to concept and eventually produce print, outdoor, banners and TV. While my layouts and concepts were not chosen, I was still proud of the design. With dark patterns reminiscent of an old-time classy parlor, and vibrant photography to convey the excitement of the Ameristar experience, this look was meant to remind potential gamers of the Sands/Sinatra days, but with a modern twist.
BEER4GOOD CHARITY EVENT
After shooting with multiple breweries for the STLMade "Brewing Community" video (see Videos section),
we were approached by the Beer4Good stakeholders to make their event a success. With only a limited budget
to work with, I shot the promotional stills myself at 4Hands Brewery, plus designed and built all social media, emails and signage for the event.
we were approached by the Beer4Good stakeholders to make their event a success. With only a limited budget
to work with, I shot the promotional stills myself at 4Hands Brewery, plus designed and built all social media, emails and signage for the event.
We teamed with Spot Films and produced a video to chronicle the success of the event, . Not only did it give event sponsors a sense of pride in their contributions, but it also drove excitement and interest around next year’s event.
STLMADE AWARENESS CAMPAIGN
Because of the pandemic, our STLMade presence at community events, festivals and concerts
was significantly reduced. The trouble is, events like these play a large role in the overall awareness of the STLMade movement. We needed alternative ways to promote STLMade, highlight local businesses and project pride. We designed five unique bus shelters and one bus wrap, along with companion banner ads.
was significantly reduced. The trouble is, events like these play a large role in the overall awareness of the STLMade movement. We needed alternative ways to promote STLMade, highlight local businesses and project pride. We designed five unique bus shelters and one bus wrap, along with companion banner ads.
The response and success of Wave One resulted in 20 more bus shelters posters around the
St. Louis Metro area, along with a full-page in the St. Louis American (see Portfolio section).
St. Louis Metro area, along with a full-page in the St. Louis American (see Portfolio section).
CORTEX IMPACT REPORT
The Cortex Innovation Community approached us with a unique opportunity to build
and design their first-ever Impact Report to the media, both in St. Louis and nationwide. They wanted
a high-quality, easily-digestible, consumer-friendly communication piece to distribute to members
of the media and stakeholders. And they wanted it IN 10 DAYS.
and design their first-ever Impact Report to the media, both in St. Louis and nationwide. They wanted
a high-quality, easily-digestible, consumer-friendly communication piece to distribute to members
of the media and stakeholders. And they wanted it IN 10 DAYS.
After our initial kick-off, I researched information, gathered every existing asset possible, talked to a local printing vendor to get die lines and got to work. Within 4 days, we had a client-approved layout and delivered an important report about the future of our city to the local and national media.
ENTERPRISE/FROZEN 2 SPONSORSHIP
We created national TV spots for Enterprise Rent-A-Car, starring Kristen Bell. I was tasked with bolstering
the rest of the campaign through Twitter, Facebook, Instagram and Instagram Stories, an IMDB takeover
and a kiosk pre-roll running at Enterprise locations nationwide.
the rest of the campaign through Twitter, Facebook, Instagram and Instagram Stories, an IMDB takeover
and a kiosk pre-roll running at Enterprise locations nationwide.
Utilizing Disney properties and adding your own unique spin presents serious challenges. With very little
to go from, only six months before the film release, and Disney execs and legal who divulged as little as possible about Frozen 2, the trick was to ask the right questions so I could deliver on their needs.
to go from, only six months before the film release, and Disney execs and legal who divulged as little as possible about Frozen 2, the trick was to ask the right questions so I could deliver on their needs.
Ultimately, we produced solid creative that kept the spirit of Frozen 2,
and also promoted Enterprise.
and also promoted Enterprise.
AEGIX CORE PROTECTION IDENTITY CONCEPT (2008)
We were tasked with developing an identity, point-of-sale, hangtags and print concepts for an upstart company developing snowboarding gear with pads and protection built into the clothing.
Using inspiration from Greek mythology (Aegix is the shield of Zeus), punk 'zines, Saul Bass & Leonardo Da Vinci's Vitruvian Man, i felt like I struck gold. Its up in the tops of all-time favorite projects.
Using inspiration from Greek mythology (Aegix is the shield of Zeus), punk 'zines, Saul Bass & Leonardo Da Vinci's Vitruvian Man, i felt like I struck gold. Its up in the tops of all-time favorite projects.
Mine wasn't selected. The brand does not currently exist.
FOOTACTION USA/NIKE "THE CLARENCE JONES SHOW' VIDEO SERIES AND WEBSITE (2003)
A very large lesson learned on trying too much. Footaction USA partnered with Nike to produce a (then) new web video series to promote young NBA players on their roster without full TV campaigns. Nike produced an initial run of 3 video interviews with (then) young NBA stars and two characters, Clarence Jones and his best friend, Tony. They run a nighttime-style talk show out of the back of a Footaction USA.
As the lead art director for the Footaction USA account, i was tasked with building the website for the show and video series. We were given the characters' backstories and the produced videos, then were told to "do whatever." Literally. Nike did not care what happened after it left their hands.
i went nuts. i imagined this 15-year old kid, not knowing how to code a website (remember, 2003) so building it in his notebook and having someone else do it for him. i hand wrote and drew everything, built Jermaine O'Neal paper dolls and scanned it all in individually and rebuilt it all.
Working with our web designer we animated all of the paper dolls, polaroids, logos and highlighter headlines in Flash (heh heh.) it looked great on our screen.
And nowhere else. it was way too heavy for the internet of 2003. Practically no one saw it. It was shelved shortly after launch. One of my (many) favorite mistakes.
BUD LIGHT PARTY CRUISE "The Mariner" :30 (2007)
This is from a very different and misogynistic era in the world of beer advertising.
To me, this was a part of the last gasps of the boobs+beer era.
To me, this was a part of the last gasps of the boobs+beer era.
HOWEVER, i do have a personal affinity for the upfront story, which i wrote. I am not a writer.
When we received the brief for Bud Light's Party Cruise, i knew exactly where to go. Two ships, 2,000 people on a alcohol-soaked cruise?
When we received the brief for Bud Light's Party Cruise, i knew exactly where to go. Two ships, 2,000 people on a alcohol-soaked cruise?
QUINT. The monologue from the fantastic Robert Shaw telling of how to capture a shark just fit to me. I wanted it to feel a bit spooky & scary upfront. I thought it turned out great. i turned over my copy files to my writing partner & his response was something along the lines of "there is nothing to add."
boobvertising or not. its one of my prides.