I am writing you today to deliver some sad and unfortunate news. After 15 years in business, my wife Gretchen and I have made a decision to close our firm, Renaissance Creative.

On Wednesday this week Steve Jobs and Apple announced a number of new products and concepts at an Apple event in California. Among them was the launch of Apple’s first foray into social media, called iTunes Ping.

I was listening to the event on my iPhone and following the commentary online via Twitter. There were lots of interesting instant-reaction Tweets by industry types. I found this one, by Kara Swisher, columnist for AllThingsD.com, to be quite interesting:

Apple Ping is “vertical Twitter” says Fortune’s Adam Lashinsky, sitting next to me at launch event in SF

At the time of reading, I hadn’t used Ping yet. My first thought was, Oh, I’m Not Sure This Is A Good Idea. Apple is an utterly closed company, making its living off of closed platforms. There is no sense of openness, of encouraging sharing, that is required in today’s social media landscape.

However, I wanted to reserved judgement until I had the opportunity to play around with it for myself. I downloaded iTunes 10 and created my Ping profile ( iTunes link).  Ping profiles do not work with browsers. Everything must be done within iTunes.

I come to Ping as a five-year user of Last.FM (formerly Audioscrobbler), which can be accessed via browser and is an open social network.

First off, if you have an Apple/iTunes account, then by default you have a Ping account. You’ve just got to activate it and pick a photo for yourself. Once that’s done, you can find “friends” to “follow” (similar to Twitter) and talk about music.

How you do that, though, is the tricky part.

The entire purpose of Ping is to make people spend more time in the iTunes Store. Every action requires that you wade through the iTunes Store. Want to write about an album? Find it on the iTunes store, then click “Share”. Just want to “like” a track (a la Facebook)? Find the song and click the tiny arrow next to the price.

After you “share” an album or song, or “like” something, it appears in your stream as recent activity. It always appears in such a way to make the album or song easy to purchase, should the mood strike.

Sound weird? It should. I believe GigaOm sums it up well:

Ping is essentially an e-commerce platform for music disguised as a social network.

An industry standard for new social platforms is that they all must connect to the other existing social networks in some way. Tweet this, Post to Facebook, etc. You can’t find much of that in Ping.

Facebook is nowhere on Ping, either. Currently, there is no linking, sharing or participation of any kind with Facebook–or Twitter or MySpace–on Ping, which will work only on the iTunes software on computers, iPhones and iPods.

Despite that, people are joining. iTunes has 160 million users worldwide, so odds are in Apple’s favor that they will be able to make some significant gains.

However those gains could be wiped out if Apple is not able to get Ping’s spam problem under control.

Ping really is a “social network inside a walled garden”, as GigaOm’s Paul Sweeting calls it.

Just because you’re a wildly successful tech company does not guarantee success in social media. Just ask Google. They know all about that.

Image credit: Bruno Pedro/Flickr

Facebook CEO Mark Zuckerberg introduces Facebook Places

Last week Facebook debuted their latest product, a geolocation feature called Facebook Places. In the months leading up to the formal announcement, there was a lot of talk that Facebook was developing it, just no-one from the company would say so in any official capacity.

At the moment it is only available to Facebook users who have the iPhone application. Users had to download the latest update in order to get the new Places feature, which now appears directly in the middle of the menu screen on the application.

I had the opportunity to begin using the new feature on Thursday last week, while out with friends. We visited a few different locations, so I was able to try a few things out.

Facebook Places works two ways: You can check yourself into a location, or your friends can check you in. The latter is causing some uproar, because of the privacy implications. When someone checks in on Facebook Places, they are given the option to “tag” whomever else is with them. The problem is that discretion is entirely up to the friend, who can check you into a location without you even *being* there.

Early on, I ran into this problem. I was at a pizza place with one friend, waiting for another. I went to “check-in” on Facebook Places and tagged her as being there with me. I didn’t think much of it, but in fact she hadn’t arrived yet. She saw the tag and then untagged herself. She did not like other people checking her into places, which then shows up in her personal timeline on Facebook.

Count this as a “lesson learned the hard way” for Facebook after past privacy slip-ups. When they launched Facebook Places, they included an opt-out for letting other people tag you. It’s somewhat buried in the privacy settings, but it is there. Over at ValleyWag they’ve published a “how-to” for ensuring that friends don’t check you in places.

Once it launched, talk soon turned to whether Places would kill other geolocation services like Foursquare, Gowalla and loopt. My opinion is that it will not. Places is an interesting service, and I’m sure it will create greater interest in geolocation as a whole, but it’s a one-trick-pony as geolocation applications go. Plus on the day that Places launched, Foursquare recorded record one-day new user sign-ups.

It seems that the one-dimensional nature of Facebook Places was intended. Here’s an interesting quote from CEO Mark Zuckerberg about that very thing:

When asked about checking-in to watching television shows or the like, Zuckerberg joked, “there’s a lot of stuff we’re not doing.”

Like with Foursquare, businesses can claim their spot on Facebook Places. However, unlike Foursquare, businesses using Facebook Places aren’t shown any meaningful analytics. You are shown how many people have “checked in”, but you aren’t able to see who they are. This could be an instance of Facebook being gun-shy when it comes to potential privacy flare-ups; however in this case it’s something that is needed.

Since Places is only available to Facebook users who access the site via iPhone, it is difficult to determine the overall success rate with any accuracy. Only a fraction of my friends are using it — most of whom are already Foursquare users — so the case for “mass acceptance” is not there right now. And since Facebook hasn’t released any usage statistics yet, we’re all left to guess.

Places could go on to be a major player in geolocation. But before that happens, they will need to build the service out and add more features and functionality.

In sum: Reports of Foursquare’s death at the hands of Facebook Places are greatly exaggerated.

Over at mobile marketing blog Mobile Marketing Watch, they have a breakdown of what Sarah Rotman Epps of Forrester laid out at the Untethered conference:

She expects 3.5 million tablets — including the iPad and other tablets — to be sold this year, growing to 20.4 million in 2015.  In addition, she expects desktop sales to drop from 18.7 million units in 2010 to 15.7 million units in 2015.

Take into account that Apple is selling about 1.2 million iPads per month, according to Apple Insider, and you soon realize that tablet computing is here to stay and its impact on web and digital marketing will be significant.

Because of the hype surrounding both the iPad and tablet computing in general, it is likely that digital agencies are being approached by their clients about whether they should take the plunge and develop their own iPad application.

If a client asks about developing an iPad app for their product or brand, first ask them these three questions:

1. The most basic iPad costs $500, and the 3G-enabled iPad costs $650. Are your core customers buying them?
2. The most successful applications on iPhone and iPad are games, so if your app is not a game, are you OK with not ranking highly in the app store?
3. Do you have an iPhone app, and if so, how successful was it? What would be different on the iPad app?

Having an iPad application means offering content all of the time. It is a media consumption device more than a media creation device. You can send e-mails and do most everything that you can do on a laptop or desktop computer, but with the iPad, the experience is different. The screen is large, so design and user experience is much more important.

The iPad offers brands a way to interact with its customers in a new way. But it also requires brands to be more open to these changes, as they are happening rapidly.

The 2010 Winter Olympics are behind us and I for one am sad to see them go. There were so many compelling moments that defined the Vancouver Games for me, from snowboarder Shaun White’s incredible Double McTwist 1260 in the half-pipe (a trick only he can perform); to Apolo Ohno passing the Chinese team in the anchor lap of the 5000 meter short track relay to become the most decorated American in Winter Olympic history; to the final frantic seconds of regulation and overtime in the US–Canada gold medal hockey game. But nothing brought me to edge of my seat like Lindsey Vonn and Bode Miller’s exhilarating performances in the men’s and women’s downhill.

What I love so much about all of our Olympic Athletes and find so well-exemplified in these two, in this event, is their absolute understanding and embracement of a simple, but profound principle. One I believe creatives should never forget: That distinguishing achievement often requires more than talent and training; more than skill and desire; more than preparation or luck. It most often requires exceptional courage and a willingness to take extraordinary risks. And that’s not easy or natural, for anyone.

Consider that when Vonn raced, in addition to a badly bruised leg, she also faced the pressures of a spectacular run by teammate Julia Mancuso, just moments earlier. Vonn was rattled. But rather than downplay the challenge, Lindsey’s husband and coach, Thomas, radioed his wife specifically to confirm for Lindsey that Mancuso had a “special run” and to relate, “You’re going to have to be perfect to win.” Vonn would later state that this strategic message from her husband allowed her to “let go” of her fears and instead, “focus on that challenge”. She subsequently took the most aggressive lines all the way down the mountain, coming perilously close to wiping out at nearly every turn. The result– she beat Mancuso’s “sepcial run” by over a full half-second.

Likewise, ignoring treacherous course conditions resulting from warm weather and light snow, Bode Miller attacked the downhill course with reckless abandon to become the first American men’s skier to stand on the podium for that event since Tommy Moe, sixteen years ago. His bronze medal time was 1:54.40, only nine hundredths of a second behind gold medalist, Didier Defago, the smallest differential between gold and bronze in Olympic history. Said Miller of his performance and his American team, “We went after it. We weren’t scared. We were always aggressive.”

Of course, while a willingness to lay it all on the line can pay huge dividends as it did in both of these instances, it never guarantees success and often sets the stage for spectacular failure. Later, attempting to go 5 for 5 in Olympic events in the slalom –the one event for which he had not won an Olympic medal– on a difficult course on sticky, wet snow that was proving difficult for many of the racers, Miller did not change his approach. The consequence: he ran into trouble almost right out of the gate. Said Miller,  “It’s unfortunate to go out so early, but you have to take risks… and I did.”

I believe creatives, from designers, to copywriters to marketing strategists should take the same approach as Miller, Vonn and others and not allow themselves to be constrained by fear. I appreciate creatives who are willing to explore their most conceptual ideas, even if it results in more misses than hits. I know that by doing so, this will give them the best chance to come up with something great, which is the only thing I ever want to present to a client.

Great creative work must always take a point of view. It has to “say something” to be memorable. Remember that people respond to “different” and “unpredictable”. In this sense, “safe” is risky. The real problems begin when fear- the fear of mistakes, the fear of looking foolish, the fear that someone won’t “get” your idea, prevents you from saying anything at all. I once heard Jeff Kling, ECD of Euro RSCG put it this way: “Screw-ups are tools of evolution. They help us survive.” There’s a lot of wisdom in that statement. Remember also, that in the business of marketing and advertising, we’re not looking to connect with the 80% of people who may not “get”, or like, or even care at all about our creative, but rather the 20% who do, and are inspired to act upon it. 

So the next time you’re faced with a daunting creative challenge (or business challenge, or life challenge), don’t allow yourself to become compromised by fear. Rather, recognize that most of life’s rewards are not without risk; that we all fall sometimes; and that even those instants leave us better prepared to make some truly extraordinary runs in the future. If nothing else, we’ll put people on the edge of their seats. At least for marketers, that’s our job.

Related videos (Note: Viewing videos from nbcolympics.com may require a quick, free upload of Microsoft Silverlight)
• How to Stomach Fear in the Downhill
• Lindsey Vonn’s 2010 Olympic Downhill Gold Medal Run
• Bode Miller’s 2010 Olympic Downhill Bronze Medal Run

Thanks to Matt Earley, an Arkansas-based creative, musician, minister, ad man and achiever for his inspiration. During a recent Twitter exchange in which I commented how much I loved the, “put-everything-on-line” spirit of the Olympic athletes, it was Matt who came back with the question, “a great parallel for life”? Yes Matt, it is. Keep attacking! Join us on Twitter: @mattearley; @thamby

Instead of the traditional holiday card, we created a custom “video card” celebrating L’Arche Harbor House, a local group whose goal is to be a sign of hope to the world. L’Arche communities are family-like homes where people with and without disabilities share their lives together, give witness to the reality that persons with disabilities possess special qualities of acceptance, wonderment, spirituality, friendship and joy.

Part of an international network of 126 communities in 30 countries, L’Arche Harbor House is the only L’Arche community in Florida.

The video highlights the “joy” of this special community as its members share in the ordinary things of everyday life. We created the video along with a microsite where it plays and can be shared with others.

The “Joy” video card is meant to remind us all that the happiness we seek is in the love we share daily. Henri Nouwen, an author and teacher who spent three years living in a L’Arche community in Canada, once said, “I’ve always thought what makes us human is our mind. But at L’Arche I’ve learned that what makes us human is our heart, the center of our being where God has hidden trust, hope and love.”

A lovely thought any time of year.

No sooner than I had thought this, than another group member, posted this reply: “This approach assumes that design is to be judged on some standard of design, independent of anything else. First comes an objective in regard to marketing materials. Marketing establishes an objective (or objectives) and develops a strategy to realize those objectives. Design not only does not perform independent of these things, but to be successful, it must assume that marketing did their job correctly and visually enable the strategy to effectively work, to realize the objectives. Good commercial design (i.e. graphic design) when done well is a measurement of how well marketing did their job.”

This designer’s thoughts were similar to mine, but I believe there’s a little more to it. Criteria is the foundation of effective design and includes more than just objectives and strategy. It includes things like a thorough understanding of who your audience is, how they are unique, where they are, what they do and what their passions are. It includes understanding attributes, benefits, strengths and weaknesses of the brand. A study of competition, how to stand out… and much more. The designer should help contribute and synthesize all this in the design process.

I think more thought leaders (CEO’s, CMO’s, CTO’s), are recognizing the rich benefits of seamless collaboration between disciplines and “departments”. I believe it is critically important that marketers understand design methodology and that designers be actively engaged in criteria development from the start- not sitting and waiting for the next “order”. How can you achieve full creative potential with an assembly-line mentality? You can’t.

The same holds true for interaction between web designers, programmers, PR, strategists, media planners, writers, etc. Here at Renaissance we are about seamless collaboration. Our designers are intelligent, strategic thinkers who have a broad range of individual capabilities. And we use all of them to achieve the best results for our clients.

Many years ago, legendary ad man, William Bernbach had the vision to combine copywriters and art directors into two-person teams—they had commonly been in separate departments. So, why did we ever stop there? Fragmenting the brand internally will inherently, weaken it externally. The bottom line is that the more diversified skill sets you put on a problem from the onset, the better your chance of arriving at an effective solution. In my opinion, this is one “general” principle of design that if utilized uniformly, would allow us to say with conviction, “Here’s what all great pieces really have in common”.

The story applies beautifully to all of those who become too comfortable with any aspect of life, not anticipating change and innovation, nor planning appropriately for the future.

We believe in this principle with such conviction at Renaissance Creative that we use the phrase, “Think Forward” in conjunction with our logo and brand identity. It’s how we help our clients think about their own products and services and the mindset that we apply to all of our creative work. Because failing to do so can have serious consequences, as Kendrick and Orthlip’s history lesson shows:

“Colonel Mastalerz was one of the most prestigious men in all of Europe- a decorated soldier and leader of the Pomeranian Calvary Brigade. As head of the 18th Lancer division, he was in charge of defending the Pomeranian Corridor. Built around the strength of its 84 infantry regiments, the Polish military had reigned supreme for two decades, turning back numerous assaults and defending their borders victoriously.

Tactically, they were superior. Their training and horsemanship were unsurpassed. Their determination and bravery had earned them an international reputation as one of the fiercest fighting units the world over. But on the morning of September 1, 1939, even Col. Mastalerz knew that Poland’s string of victories was about to end.

The horses of the Polish calvary grew skittish and reared up restlessly. A deep rumbling sound shook the earth, growing louder by the minute. In the distance, Mastalerz could hear the sound of trees cracking and falling to the ground. Through the morning mist, the 2nd and 20th Motorized Divisions of the Third Reich made their way toward Masterlerz and the small hamlet of Krojanty. The invasion of Poland had begun.

In the hours that followed, Polish soldiers on horseback fought a war of attrition against a German unit of tanks and armored cars. It was one of history’s great juxtapositions. The unthinkable was happening. It was a contrast equal to the Wright Brothers observing a space shuttle launch, or Alexander Graham Bell witnessing an Internet Videoconference. Residents from two different worlds met in an iconic exchange of ideologies, as one bygone era surrendered indefensibly to the next. Time and technology had marched by unnoticed. And that changed everything”.

Just like the Polish army, we as marketers must continue our push to evolve. Enduring success will be enjoyed not by those looking to leverage the tried and true, nor those satisfied with remaining in lockstep with their peers; but rather, by those willing and committed to thinking forward and considering: What’s next? How can I do this differently? How can it be improved? What changes can I anticipate (cultural, media, technological)? How can I leverage these trends?

Our industry today (integrated marketing, advertising, public relations and brand communications) is characterized by profound change– extreme shifts in technology and fragmentation of media, all occurring at unbelievable speed. Is there really any question that the ways we deliver messages must always continue to evolve?

As the Pomeranian Calvary Brigade proved, if you’re not committed to the process and looking far enough ahead; you’ll one day find yourself at the unwelcome crossroads of time and technology; of the past and the future; of foresight and hindsight. And you’ll have no choice but to surrender to those who eyes were fixed on a point on the horizon, much farther than your own.

As Kendrick and Ortlip so eloquently put it, “the advance of time has a great way of correcting nearsightedness”.

Note: The Blueprint for Life Study from which the story of the Pomeranian Calvary is referenced, is a truly enlightening (and exceptionally well-developed and designed), multi-media resource that takes valuable, secular-styled lessons for intentional living and goal-setting and applies them to Christian principles. I highly recommend this $59 study for groups or individuals. You’ll find many more brilliant illustrations you can apply to every area of your life. www.blueprintforlife.com.

I’m not referencing the lack of aesthetic refinement of any particular American make or model. Perhaps to the surprise of some, great design isn’t just about looks or style. Nor is it an issue related specifically to engineering, price, performance or service following the sale. Rather, it’s about the cumulative nature of all of these qualities and how a company’s products and services make their customers “feel” over time.

Great design emerges from a specific kind of organizational “culture”. It is guided by a commitment to understanding your customers (and your “brand advocates”, including your internal team and supply chain), on a human level, so that you can connect with them there emotionally. It’s a problem-solving process that can be utilized in every facet of your business. And in today’s world, it is fast becoming not only a powerful competitive advantage for those all-too-familiar companies that clearly “get it” (Apple, Target, BMW), but a survival tool for those hoping to compete in a tumultuous new economy — a world where companies are increasingly being forced to choose between operating as standardized commodities, or class leaders. I’d theorize that the fact that American automakers occupy neither space distinctly or consistently is a potential source of their problems.

So, how can we utilize the power of design to its full potential in our businesses? A great way to start is simply understanding what design is and the methodology behind it. And don’t worry– you don’t have to be Steve Jobs or Michael Graves to do this.

While design was one of my responsibilities years ago, it rarely rose above my roles as a writer, marketer, strategist and generalist. But, I’ve had the pleasure of working alongside some great ones for many years, and so have come to understand their processes well. Whether you’re talking about industrial, environmental, graphic, interactive or experiential design or whether you’re referencing product development, marketing, branding or organizational attributes, the methodology remains wonderfully, consistently effective.

It is a process based on inquisition; exploration; anticipation; innovation and continual trial and refinement. It is focused obsessively on user-experience (i.e. What’s in it for the customer?). It’s about fostering positive emotional connections with users by focusing on the most sublime details (this is where professional designers are worth their weight in gold and where brands — some knowingly, some unwittingly — often make that choice between invariable “commodity” or “class leader”). Oh yes, and be forewarned: The design “process” never, ever “ends”, because time inherently presents us with new sets of problems to anticipate and resolve.

Many people fail to recognize design as this type of a problem-solving “tool”. They understand it only as one recent prospective client did, when in the course of attempting to pay our firm a compliment, noted our reputation as a creative agency, and said that we are great at making things, “pretty”.

As we noted in a subsequent blog post (http://www.rencreative.com/blog “Pretty?!! Please!!!”), design isn’t about being “pretty”, “good-looking” or even “kinda cute”. Design is about criteria-based problem-solving. And only when a project’s criteria calls for “pretty”, will it be designed in such a way because form follows function.

This is where much public understanding of design tends to get lost.

You see, design is not art. Art is subjective, based on an artist’s personal expression. Design is objective, based on well-organized performance criteria.

Good design is not influenced by the designer’s personal feelings and is only beautiful when it works beautifully — when it effectively achieves what it is designed to achieve.

My iPod is a work of art. But, it works because it can hold a thousand songs in a smooth, elegant case about the size of a book of matches. Same thing with my iPhone. It’s sleek and beautiful and it’s a working computer that’s thinner than my wallet! These things make me feel good about my purchases of them, good about the Apple brand and thus more likely to purchase the next new gizmo Apple puts in front of me.

I trust the company because they provided me with great products and services that have translated into positive memorable experiences, over time. They’ve elevated their brand for me, to the point where I not only use their products loyally, I’ll pay more to get them, because I recognize the value they extend over the long run through the quality of their design. So often, so many companies waste so much money throwing more media dollars after bad brands, when they could have dedicated their budgets to creating stronger brands that require less marketing across the life of their products!

This is not say that good design has to cost more. Just look at Target. They’ve created a design-driven company, whose entire business model is, “great design for less!” Same with IKEA. Their commitment to design runs throughout their products, retail spaces, marketing efforts and no doubt, their entire internal structure.

Meanwhile, American automakers seem confused. They don’t understand their customers and they’ve admitted it. They say they can’t figure out if we want better gas mileage and lower prices; or more room and greater safety for ourselves, and our families.

Hey, how about both?!

If Steve Jobs can cram 1,000 songs into a gorgeous matchbook; if Target can give us haute couture for $19.99, then we know it can be accomplished! And if you want to make sure your brands transcend the competition in lasting, meaningful ways by connecting with us on an emotional, human level —– then by all means, leave the jets parked on your day trips.

Ultimately, not every company has to be a BMW, UPS, Apple, Starbucks, Disney, Samsung or any other of the many organizations that understand “design culture” and employ it throughout every aspect of their businesses. You can choose to utilize design methodology to attack any individual problem and integrate it to whatever level your personal business philosophy begets – or your customers demand.

Regardless of how you use it, here are some handy tips to help keep you “thinking” like a designer:
1. Define the problem: Gather all the criteria by gathering all the stakeholders. Design is a collaborative process. The more brains you involve in problem-solving, the more effective your solutions can potentially be, though someone should always clearly lead.
2. Put yourself in the place of your customer: It seems so obvious, yet is so easy to forget. You’ve got to intently focus on the user, at all times.
3. Inquire: Ask these important questions: What’s in it for the customer? What are their desires / needs / fears? How can I address these wants / needs or anxieties and foster positive emotional connections with users by answering these concerns? How do my products and services make people feel? How can I connect with them on a human level? (Hint: Use your gut).
4. Anticipate and Innovate: As we are fond of saying at Renaissance, “Think forward”. Anticipate change. Study consumer, cultural, media and technological trends and consider how your product or service might intersect with these shifts down the road.
5. No idea is a bad idea: Everyone has a creative gene, from the Creative Director right down to the mail room. Never be overly critical or dismissive of a new approach. Consider all ideas thoughtfully and respectfully.
6. Never be satisfied: Test your ideas, measure their results and never stop refining.
7. When in doubt, consult a professional.

If you elect not to integrate the principles of design into your organizational culture, it doesn’t mean that you’ll end up sweating in front of a microphone, getting flogged by an elected official. But if you do, I promise that your customers (and your people), will notice. They’ll feel that you care. They’ll stick by your class-leading company in up or down economies. And when they shake their heads, it won’t be because you are so woefully disconnected, but because you are so consistently, astonishingly good.

“Pretty?” Sorry, but we don’t do “pretty.” Or, “good-looking”. Or, “kinda cute”. We do design. Criteria-based design.


Form does not follow, “pretty”.
Form does not follow, “cool”.
Form follows FUNCTION.

In professions like architecture or industrial design, there seems to be little confusion over this. But in advertising, marketing and graphic design, sometimes even those in the profession don’t know the difference between art and design. Thus, titles like “the art department” and “graphic artist” instead of “design department” and “graphic designer”.

Art and design are not just different. They are basically opposites.

Art, in the traditional sense of the word, is subjective, based on the artist’s personal expression. Design is objective, based on well-organized performance criteria. Good design is not influenced by the designer’s personal feelings and is only beautiful when it works beautifully—when it effectively achieves what it is designed to achieve.

Good design is performed by designers who know the difference between self-indulgent art and criteria-based solutions. Sure, visual beauty, poetic copy and artistic imagery are often a part of what works in marketing. But not because they’re pretty. Rather, because project criteria may call for it.

At Renaissance, we believe knowledge, talent and problem-solving design ability are beautiful things.

So please- feel free to call us “pretty.” Just smile when you do it.

Apparently, our ad, which featured an interesting crop of a beautiful young woman sipping tea and the headline, “I Dare You. Make a Move.”, was deemed “too sexy” for the publication. They specifically noted a policy that prohibited them from running any ad that might result in a potential complaint from any reader who might find it objectionable.

Before we proceed with our discussion, you might want to take a peek at our ad, yourself.

What do you think: Does it suffer from over-“exposure”?

Pretty hot, huh?!!

I’ll admit it. I let the job folder sit on my desk a couple of days longer than usual. I really, really loved it, ummm… creatively speaking! BUT, before you call me sexist and send me to the corner—allow me to make a couple of observations.

First, interestingly, the Designer, Copywriter, Account Manager and (client) Marketing Director for this ad were/are all exceptionally talented, intelligent, empowered women. So rest assured, there was no “Mad Men” foul play in the background here! (Side note: Check out more of lead designer Emily Rawitsch’s award-winning work in the latest Communication Arts Design Annual and Black Book AR100 Competition. Emily is neither a feminist nor a prude—simply a supremely talented designer!).

Second, as far as the “exposure” factor goes, I’m a father of 5 and 9 year-old daughters and very sensitive as to what their innocent, impressionable eyes see. In fact, the original image used in this ad showed the woman in it wearing a ring on her left “wedding” finger, which I specifically asked Emily to remove (it’s now on her right hand). Additionally, unless my daughters will be perusing apartment communities in the rental guides any time soon, I doubt they’d ever even stumble upon this ad. Heck—I see worse every single day in the checkout line at the grocery store, on the covers of People, US Magazine and… Health and Fitness!

Last—and this brings us to the point—the ad is reflective of everything good design should be! Targeted and compelling; Clean and sophisticated; An eye-catching image with a beautiful graphic quality. The copy is smart, edgy and succinct. It ultimately does exactly what you want great creative to do, which is to stand out, be memorable and provoke an emotional response.