Marketing Designer
My approach
my approach to creating strong creative that represents the brand and performs well begins with describing what job it needs to do—the goal—then goes on to answer further questions:
• Who are we appealing to?
• Where's the story?
• What's worked in the past?
• What assets do we have?
• Which assets do we need?
• How can we make it in-house?
Who are we appealing to?
Data show wine enthusiasts are particularly high novelty seekers when it comes to selecting wine, so we tested appeals to that type of temperament by emphasizing newness in our messaging. For reasons like this, I prefer to have unabridged research on customers when designing campaigns.
Concept and design, Ruth Westervelt
Where's the story?
Acquisition marketers know that communicating with potential customers is increasingly challenging. We don't get much time to explain our products or services, and that's only after you've gotten them to stop scrolling. Thinking about creative in terms of storytelling is an effective way of dividing up content into bite-sized portions customers can snack on as they get to better know your brand and all of its benefits. The samples above demonstrate certain popular filters as small chapters in the larger brand story.
Concept, design, editing, Ruth Westervelt
What's worked in the past?
I keep a working slide deck filled with top performing creative as an ongoing retrospective. That way, successful tactics with statistical significance can be logged, referenced, shared, and used as a springboard for brainstorming future creative. Above are examples of how learnings can be applied to new, refreshed creative.
Concept, production, and photography, Ruth Westervelt.
What assets do we have?
Working with new imagery can be fun, but has existing imagery been used to its fullest? For the first creative, images from campaigns past were repurposed using overlays and refreshed messaging. For the bottom pair, creative was built from partner photography and bottles images pulled from the website.
Concept, design, editing, Ruth Westervelt
How can we make it in-house?
Brands consume a lot of creative and it's not about to slow down. Concepts don't always have time to wait on the schedules of outside specialists, so generating content in-house (think lo-fi) can deliver in a clutch situation. I created opportunities to showcase the latest vintages for an evergreen creative by working with the Merchandizing Team to shoot beautiful bottles in my home studio. Concept, editing, and production, Ruth Westervelt.