Digital Creative 1
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This document summarizes a creative certification course presented by Alan Rosenspan, Nancy Harhut, and Carol Worthington-Levy. The course will cover how to evaluate creative work, how to get great print and digital work, and include question and answer sessions. The instructors have extensive experience in creative direction and have won numerous awards. The course will help attendees discover how to get the best creative, what to look for and avoid, and provide a checklist for evaluation creative work. It will also offer ideas for motivating creative teams.
Digital Creative 1
- 1. Welcome to the DMA’s Creative Certification Course Part One Evalua&ng Crea&ve Wed., Oct. 16, 2013 — 1:00 to 4:30 pm Presented by Alan Rosenspan • Nancy Harhut • Carol Worthington-Levy
- 2. Want to reach any of us? Alan Rosenspan: [email protected] Nancy Harhut: [email protected] Carol Worthington-Levy [email protected] You’ll also find us in LinkedIn! 2
- 3. Scope of the Course • How to Evaluate Creative • How to Get Great Print Work • How to Get Great Digital Work • Questions & Answers throughout, breaks as needed 3
- 5. Alan Rosenspan Creative director in three countries, for O&M and Digitas My teams have won over 100 Awards – including 20 DMA Echo Awards for results. More importantly, a working creative director and direct marketing consultant Client list has included American Express, Ancestry.com, Bank of America, Capital One, Embrace Home Loans, Humana, HSBC, Life Line Screening, Oreck, Princess Lines, Scotts Lawn Service, Viking River Cruises, many others 5
- 6. Nancy Harhut • Chief Crea<ve Officer, Wilde Agency • Decidedly strategy-‐minded, results-‐oriented • Na<onally recognized for best-‐in-‐class crea<ve. • She and her teams have won over 150 awards for direct marke<ng effec<veness. • More than 20 years of senior crea<ve management experience honed Digitas • Clients have included Dell, IBM, Novar<s, House of Seagram, Bank of America, AT&T, American Express, Sheraton, GM, and more. She’s an in-‐demand speaker at DMA and other marke<ng conferences. 6
- 7. Carol Worthington-Levy Wears three hats – Design/art director, writer and creative director/consultant for hire A stickler for responsive creative: has read it all, tested it all, and even attended a seminar in Switzerland to learn what will encourage response… or crush it! Was a business partner in a multichannel marketing agency, which she and partners sold to Merkle in 2010 Possibly one of the only 8-time individual DMA Echo winner in 3 categories: Mail, Catalog and Online/digital Clients: AAA Auto Clubs, 5.11 Tac<cal, Adventures Cross Country teen travel, Allstate, Wine of the Month Club, Jacuzzi, Niman Ranch premium meats, Comcast, American Isuzu, Intuit, BMW, Dish, DHC Cosme<cs, Hewle[-‐Packard, and more 7
- 8. We’re in the trenches, just like you! We are all working creative directors and direct marketing consultants We are all teachers and students of direct marketing We all believe in great creative work 8
- 10. Who are you? • You want to learn more about how to develop winning creative • You want be a better manager and motivator of your team or your agency • You want to be able to better evaluate creative before investing a lot of time and money 10
- 11. Introductions • Your name and what you do • You biggest challenge… • What makes you unique? “I think I am the only person in this room who…” 11
- 12. Before we begin… • Judgment call • The truth about evaluating creative… • Backgrounds and introductions 12
- 13. What do you think? 13
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- 19. What do you think? • What’s your overall reaction? • Do you think it will work? • What do you like? • What do you think might be improved, or what would you do different? 19
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- 25. The Truth about Evaluating Creative • You are an excellent judge of creative • You are intuitive and thoughtful… • …when you stop to actually think about it in a critical way 25
- 26. Our goals for this creative certificate program Help you discover… How to get the best creative work What to look for; what to watch out for Provide a Checklist for “How to Evaluate Creative” Offer ideas for how to motivate people to do their best work for you. 26
- 27. Section 1: How to Get The Best Creative Work 27
- 28. • How can you tell if it will work in advance? • How to give useful and welcome feedback • Timing & Budget Questions 28
- 29. First, a definition What is the best creative work? You’re not looking for work that makes you laugh, or may win an award show You’re looking for creative work that’s going to generate response 29
- 30. • Does it have to be new? • Does it have to be different? • What are some signs of good creative? 30
- 31. Does it have to be new? • Not for the sake of being new • New in this category • It must be relevant to the product and the market 31
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- 33. Does it have to be different? • Not for the sake of being different • Good creative should tell you something you don’t know… • …or make you think of something in a new or different way 33
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- 36. • But it should never, ever take away from the message • Or worse, send the wrong message 36
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- 39. Nancy presents a Big Idea: Crea<ve Challenge: Sell auto insurance to an affinity group
- 40. Crea<ve Challenge: Sell auto insurance to an affinity group that was so unresponsive the program was about to be cancelled
- 41. New Agency Our First Assignment Probably also our last
- 42. Product: Na<onwide Auto Insurance Affinity group target: Members of the Human Rights Campaign (HRC) Goal: 1. Generate quotes 2. Generate sales
- 43. HRC -‐ Human Rights Campaign Largest LGBT equal rights advocacy group and poli<cal lobbying organiza<on in the U.S. LGBT= Lesbian, Gay, Bisexual, Transgendered
- 44. Sales Proposi&on Get HRC discount when you get Na<onwide auto insurance Plus get Na<onwide’s great service and prices
- 45. Barriers Na<onwide is not a low-‐cost op<on HRC discount is small Historically unresponsive target Iner<a-‐ only switch if bad claims experience/price hike Compe<tors cite specific savings amounts 10¢/piece – and reflect new “Join the Na<on” branding
- 46. Barriers But wait, there’s more… Could not acknowledge target was an HRC member Not allowed to use HRC name/logo on OE Other insurers had much more trac<on with LGBT community
- 47. The Solu&on? “Slide in under the radar” package Cast doubt on other insurer’s commitment to the cause Prove NW is a genuine HRC supporter Highlight many discounts available + proac<ve checkups Signed by NW exec who’s also an HRC member
- 54. Did it work? 56% liq over the control Client wrote: “Wilde Agency’s crea:ve was able to break through to the point where we WENT FROM SHUTTING DOWN OUR MAIL PROGRAM TO ADDING EXTRA MAILINGS NOT PREVIOUSLY BUDGETED.” 2013 ECHO Award winner
- 55. The state of the Wine-‐By-‐Mail industry 55
- 56. Carol and Alan’s Big Idea: 56
- 57. Which OE do you think was the winner? 57
- 58. Le[er copy: friendly, “I’m like you” approach What do you do if you buy wine, and you don’t like it? You can’t get your money back. We taste over 300 wines to make sure it’s great. I never sell wine I don’t like. 58
- 60. 1700 V the fi 1700 views in iews! rst couple of hours! Over 3000 total views, and over 700 cases of wine sold .
- 61. 7 Key Elements to Look For 61
- 62. 1. Does a Big Idea Burst Through? 62
- 63. The first question to ask of any direct mail piece, advertisement or press release 63
- 64. “Without a big idea, your advertising will pass like a ship in the night.” -David Ogilvy “In direct marketing, the ship will sink.” 64
- 65. Why are big ideas so important? A big idea cuts through the clutter A big idea can multiply your success 10 times over You only need one It costs more to do a bad idea than to do a big idea 65
- 66. What is an Idea, anyway? An idea is a change “I have an idea; let’s do things the way we’ve always done them before!” The bigger the change, the bigger the idea 66
- 67. Letter to Ministers in Germany They were concerned about declining church attendance They wanted to “wake up” ministers – and invite them to a discussion about the problems They used a very simple letter – with just one sentence! 67
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- 80. How do you know if it’s a big idea? Is it a new idea? Or new in this category? Is it relevant to the product? Does it make you think? Not “what are they talking about?” but about your relationships, your job, your life, your future… 80
- 81. How do you know if it’s a big idea? Does it make you feel? Emotion is stronger than logic Is it credible? Do you believe it? Does it stand out from others in it’s category? 81
- 82. 2. Does a single-minded message come through? 82
- 83. People have a hard time “getting” even one thing It’s not because they’re dumb; they’re just busy Make sure your message breaks through the clutter – by focusing on one message 83
- 84. The “Bed of Nails” Approach 84
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- 87. 3. Is the Creative Focused on People? 87
- 88. One of the great secrets... Most companies focus on their products...or worse, themselves The best companies focus on their prospects and customers 88
- 89. Ancestry.com The world’s largest genealogy company Has access to over 3 billion records, and will help you search Their most successful direct mail and e-mail 89
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- 93. But make them look good Don’t show your prospects as “dumb” Don’t make fun of them… Make them into heroes – like Kodak 93
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- 100. 4. Does it have an arresting Visual? 100
- 101. The Power of Visual Thinking People remember less than 10% of what they’re told (and it’s always the wrong 10%) “Follow my directions carefully” People remember more than 50% of what they see They even make it up - to fill in the gaps 101
- 102. Show and tell Show me what you’ve got Show me what you’re made of “Show me the money” 102
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- 108. Imagine a Harley Davidson Motorcycle parked inside a great cathedral The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corrupted. Restart your computer, and then open the file again. If the red x still appears, you may have to delete the image and then insert it again. 108
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- 110. The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corrupted. Restart your computer, and then open the file again. If the red x still appears, you may have to delete the image and then insert it again. 110
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- 112. 5. Does it have a compelling headline? 112
- 113. Headlines are Critical They should have your key benefit in them 80% of people read that – and nothing else Subject line in e-mail even more important Johnson box serves the same purpose 113
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- 116. WFNX – 101.7 • Alternative Rock Station in Boston • How can they capture the tone of their station in a billboard? 116
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- 119. 6. Is it involving? 119
- 120. What Barnes & Nobles knows 120
- 121. 3 Proven Ways to Involve People in your Advertising Ask questions or quiz them Use an involvement device Use the word “you” – a lot 121
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- 132. 6. Is it “campaignable?” 132
- 133. “Campaignable?” Is it just a one-shot, or can you build a long term campaign around it? Does it easily lend itself to other media? A big idea can last for years… 133
- 134. Antwerp Zoo in Belgium was looking to boost attendance Their elephant got pregnant Send out a birth announcement? …or create a campaign? 134
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- 137. Congratulations, it’s an elephant! Multi-media campaign started right after conception Turned all of Belgium into proud parents Millions of people followed her 22 month development from inception to birth – including her first ultrasound photograph! 137
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- 139. Kai-‐Mook became the first elephant born on the internet on May 17, 2009 – weighing a healthy 100 kilograms. Zoo a[endance more than doubled – over 300,000 new visitors 139
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- 141. Absolut Best Campaign First ad appeared in 1980; still going strong 1500+ ads later Created by Geoff Hayes of TBWA Ads have become collector’s items; thousands of people write in requesting their favorite Rolled out “In an Absolute World” in 2007 141
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- 151. Judge for yourself: Do these upcoming examples meet that list of criteria?... • Big idea • Single-‐minded message • Focused on people • Arres<ng visual • Compelling headline • Involving • Campaignable 151
- 152. Comcast … see if this mailer meets the criteria • • • • • • Single-‐minded message Focused on people Arres<ng visual Compelling headline Involving Campaignable 152
- 153. Make it a double feature with Comcast High-Speed Internet. Home entertainment: Comcast All the speed you need to download film clips or tunes, watch movie previews or music videos, even play online games. Includes security tools from McAfee® designed to keep your online experience safe and virtually free from viruses and annoying pop-ups . . . a $115 value, yours free! Why wait? Experience the speed, reliability and security of Comcast High Speed Internet. Get it now! Call now and save with Comcast: 1-800-381-4460 Film Festival Committee PRSRT STD U.S. POSTAGE PAID Permit No. 657 Sacramento, CA PO Box 5147 San Ramon, CA 94583 You’re invited to the world’s most exclusive film festival. V.I.P. PASS ENCLOSED Stephen Maxwell-Levy 12345 South Steiner Street Apt. A Niceplace, CA 98765-4321 • VIP invita<on gets a[en<on • They flip it over… Place: Your Place Time: Whenever Audience: You and a few hand-picked guests 153
- 154. Stephen Maxwell-Levy 12345 South Steiner Street Apt. A Niceplace, CA 98765-4321 Home entertainment: Comcast Place: Your Place Time: Whenever Audience: You and a few hand-picked guests It’s the World’s Most Exclusive Film Festival Call now to R.S.V.P. 1-800-381-4460 • Concept: you can have your own private film fes<val in your home — how??... 154
- 155. Make it a double feature with Comcast High-Speed Internet. All the speed you need to download film clips or tunes, watch movie previews or music videos, even play online games. Includes security tools from McAfee® designed to keep your online experience safe and virtually free from viruses and annoying pop-ups . . . a $115 value, yours free! Why wait? Experience the speed, reliability and security of Comcast High Speed Internet. Get it now! Call now and save with Comcast: 1-800-381-4460 • Challenge: Comcast high speed internet might at first not seem Film Festival Committee like entertainment as much as for email and website access. But Comcast wanted to posi<on it as a way to download movies PRSRT STD U.S. POSTAGE PAID Permit No. 657 Sacramento, CA PO Box 5147 San Ramon, CA 94583 You’re invited to the world’s most exclusive film festival. 155
- 156. • This posi<ons the reader as a VIP when they get Comcast high speed internet 156
- 157. Did it fit these criteria? Do you think it worked? • • • • • • Single-‐minded message Focused on people Arres<ng visual Compelling headline Involving Campaignable 157
- 158. Isuzu B2B mailing: does this meet the criteria too? • This Isuzu truck is a huge seller • It’s especially well sized for two industries: light construc<on, and the food industry • Challenges: how to get companies with fleets to consider buying several instead of just one • Budget $90,000 158
- 159. Isuzu Fleet campaign • Targeted two markets ONLY • Created a mailer for each, that is very specific to that industry • This one is light construction: This truck can carry “6000 pounds of cement” 159
- 160. Isuzu Fleet campaign • This truck can carry about 6,000 lbs of cement – sized specifically for typical construction load • Of course it’s absurd – the box is 12 in. wide 160
- 161. Isuzu Fleet campaign • A dimensional package needs all the hardworking elements that tradi<onal flat mail does! 161
- 162. “500 gallons of Tomato Paste enclosed” • This one is for the food service industry • Typical load for this industry would be 500 gallons of tomato paste 162
- 163. Sent out 3000 boxes per targeted market • • • • • Campaign cost $90,000 We sold 140 trucks Bo[om line -‐ $4.2 million in sales New leads generated for future contact Huge ROI 163
- 164. Isuzu B2B fleet mailing: does it meet our criteria? • • • • • • Single-‐minded message Focused on people Arres<ng visual Compelling headline Involving Campaignable 164
- 165. One last example: New Pig site re-‐launch Does it have… • Single-‐minded message • Focused on people • Arres<ng visual • Compelling headline • Involving • Campaignable 165
- 166. New Pig needed to launch their new and improved website. • New Pig has goods to help control chemical and water spills — including the “pig” They have developed a kooky persona with catalogs with pigs on them, and their Leak and Spill catalog featuring Sparky, a cartoon pig with a hardhat • An improved website gives them another reason to contact customers and get them to re-‐register in the updated system 166
- 167. …so launching the site could not be a dull or pedestrian event… • Customer expecta<ons are high – New Pig customers expect to see an event turn into a ‘PIG” event! • Step 1 Email… 167
- 168. Landing page pays off and generates excitement about the new site… 168
- 169. Catalog wrap is essen<al because many don’t check their email 169
- 170. Campaign targeted a hardworking audience who loves a humorous break from the serious subject of chemical spills and hazardous waste! Mouse pad with contact info 170
- 171. New Pig re-‐launch campaign: does it meet our criteria? • • • • • • Single-‐minded message Focused on people Arres<ng visual Compelling headline Engaging Campaignable – well, yes, it IS a campaign… 171
- 172. Make People Do What You Want Them To (Nancy Harhut on Insider <ps on the power of direct marke<ng crea<ve)
- 173. General adver5sing influences a<tude and awareness over 5me. Direct marke5ng influences behavior immediately. 173
- 174. Direct Marke&ng Targeted Measurable Ac<on-‐oriented (CTA) 174
- 175. Goal Get Response (lead gen or sell off page) Reinforce & extend brand posi<oning 175
- 176. Primary Channels for Today’s Discussion Direct mail Email 176
- 177. Offline Advantages Tangible Oqen more real estate Less mailbox clu[er 3D = high opening rate 177
- 178. Online Advantages Quicker to produce & measure Easier & cheaper to modify between rounds Click to respond OLA = animated, dynamic 178
- 179. How to give yourself an edge Study your mailbox/inbox for “repeats” See what’s proven to work in the marketplace Read the masters John Caples “Tested Adver<sing Methods” David Ogilvy “Ogilvy on Adver<sing” H.G. Lewis “Effec<ve Email Marke<ng” Follow the trades Test, test, test 179
- 180. Overarching Crea&ve Guidelines 180
- 181. Overarching Crea&ve Guidelines Get to the point quickly 1 main message Don’t risk confusing the audience 181
- 182. Overarching Crea&ve Guidelines Pop the offer And the deadline 182
- 183. Overarching Crea&ve Guidelines You-‐oriented vs. Us-‐oriented Minimize “we, our, us, my, I, our company” 183
- 184. Overarching Crea&ve Guidelines Appeal to human mo&vators Save $$ Save <me Self-‐improvement Feel special/recognized Look good to others Feel smart Make life easier Discover new things Feel safe 184
- 185. Overarching Crea&ve Guidelines Benefits not features Displays perfectly on any device – so you can easily read wherever and whenever you want 185
- 186. Overarching Crea&ve Guidelines Remove risk Guarantees Free Trials Proof points 3rd party endorsements Tes<monials 186
- 187. Overarching Crea&ve Guidelines Tailor concept/message to audience Segment and version Personalized and relevant Acknowledge previous behavior 187
- 188. Overarching Crea&ve Guidelines Know target’s main objec&on and how to overcome it Build in your best sales argument 188
- 189. Overarching Crea&ve Guidelines Persuade vs. entertain You have seconds to capture a[en<on Clarity trumps cute and clever 189
- 190. Overarching Crea&ve Guidelines Strong CTAs Visually prominent Repeated Make ordering easy 190
- 191. The Secret to Getting Great Creative Creative people always have choices. They can’t always decide what they will work on; but they can always decide how much of their effort and heart they will put into their work. Your goal is to make them want to go that extra step for your projects, your product , your company – and of course, for you. 191
- 192. Where the Best Creative Work Begins 192
- 193. Briefly speaking • Successful creative starts with a well thoughtout brief or Creative Strategy Form • It doesn’t end there – but it starts there • The more time and effort you put into your brief – the more likely you are to get effective work 193
- 194. The Briefing Meeting • A brief should never simply be handed-out or e-mailed. • It should be an interactive process; with the final brief emerging from the meeting • You need to encourage comments and questions – and get the answers as soon as possible 194
- 195. Your Role in Briefing Creative To initiate the project and provide the information necessary to complete it To be an “expert” on your business; or to get the answers they need before the work is completed To be open to new ideas and solutions To give constructive and specific feedback to help improve the work (when necessary) 195
- 196. Not Your Role To dictate the work To withhold information or fail to provide it on a timely basis To not have the answers To create false deadlines or emergencies To abuse creatives in any way, shape or form 196
- 197. The Role of Creatives To represent the consumer’s point-of-view To be an “expert” on their business – advertising and direct marketing …and to become an “expert” on the clients business To come up with big ideas 197
- 198. Not the Role of Creatives To give the client only what they asked for… To postpone the work and do a last-minute scramble To give up, or do less than their best To think that that account people, or clients, aren’t smart or good at their jobs 198
- 201. The Creative Strategy Form Every company has a different format It is a blueprint of the job -- and a contract It should be developed, agreed on and signed by everyone involved in the project - particularly the most senior person It can be used to evaluate work It has to be simple, understandable – not just filled with jargon 201
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- 203. The Creative Strategy Form 1. Project Description What are we doing? Why? 2. Objective What are we trying to achieve? What do we want people to do? Be as specific and realistic as possible 3. Target Audiences The more specific, the better 203
- 204. The Creative Strategy Form 4. Main message and proof What is the single most important reason that someone will buy our product or respond to our mailing? Why should anyone believe you…? 204
- 205. The Creative Strategy Form 5. Offer What do they get? What do they have to do to get it? 6. Key points What other benefits do we need to communicate? 7. Ways to Respond Did we make it easy? Did we give them a choice? 8. Tone and Manner Consistent with the product? 205
- 206. The Creative Strategy Form 9. Mandatories Legal, logo, etc. 10. Budget How much do we have? Let the value of the customer drive the budget 11. Schedule How much time is left?!!!! 206
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- 208. Put time on your side… You want to give creative people time to do their best… ..but you also want your project to stay top-ofmind Plus you don’t want them to forget anything, or worse, do it at the last-minute 208
- 209. Think in stages Ideally, you want them to come back with rough ideas within 5-7 days This keeps your project fresh in their minds and motivates them to get started right away After this first meeting, you can give them more time to refine, make changes, add to the mix 209
- 210. Two questions you must answer 12. What is the target market currently using/doing? Understand their mindset Are they using a competitive product? Making do without? Why should they switch to yours? 13. “You know you need it when…” When does someone know they need your product? Puts you in their shoes Identifies points of pain You’re looking for agreement... 210
- 212. Best Practices Allow them to finish their presentation, before you jump in Start by acknowledging how much work has been done, and what you like Review the brief to make sure that everything important has been addressed 212
- 213. Be constructive See the big picture first – don’t nitpick Never get personal. Not “I don’t like that headline” but “Does this headline have the main benefit?” Go through the Checklist with them 213
- 214. Moving ahead Take the time to provide thoughtful, useful feedback This is your first exposure to the work; they have been at it for days Resist the urge to change for change’s sake 214
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- 216. Never say “The client will never buy this…” Don’t try to anticipate what others will say or think; give your own opinion Remember you are all on the same side 216
- 217. How do you know if it will work before it goes out? 217
- 218. “You cannot judge direct marketing. It judges you.” - Denny Hatch 218
- 219. Besides… “Creative” packages don’t usually work The “ugly” stuff almost always seems to win Even the best work seems to produce a disappointingly low response 219
- 220. How do you know…? The only guarantee in direct marketing is a moneyback guarantee It can be very surprising what works and what doesn’t However, if you use the following checklist, you will maximize the probability of success 220
- 221. Checklist 12 questions to ask about any creative execution 221
- 222. 1. Is it on strategy? 2. Is it appropriate to the product and the positioning? 3. Is there a big idea? Does it come through? 4. Does it have a striking visual or graphic? 222
- 223. 5. Do the offer and main benefits come through quickly and clearly? 6. Does the offer stand out? 7. Is it believable? Are claims supported with facts or testimonials? Is there a guarantee? 8. Does it include a strong call to action in every element? 223
- 224. 9. Does it make you think or make you feel 10. Will it stand out from others in this category? 11. Are all the elements working as hard as they can for you? 12. The big question: would you respond? 224
- 225. These are all the ways to evaluate creative for regular advertising. But direct marketing has to work even harder 225
- 226. We have to get people to act Go to our website Call a toll-free number Send in an application or response form Bring something into a store 226
- 227. 1. It must be 100% absolutely clear • Above all, it must be clear and easyto-understand • If people don’t “get it” – you lose • You need to be direct in direct marketing 227
- 228. 2. It must have a compelling offer • “If you want to dramatically improve your response, you must improve your offer” – Axel Anderson • They must know exactly what you want them to do, and how • They must have an urgent reason to act now 228
- 229. 3. Credibility is king • We need to prove what we claim • We must use numbers, specifics, facts, lists • Testimonials are critical • One false note can kill response 229
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- 231. The rest of the Scott’s LawnService case-history 231
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- 245. What do you think? • What’s your overall reaction? • Which package did you like best? • Which do you think worked best? • Why? 245
- 246. We told you that you’re an excellent judge of creative! 246
- 247. Back to The Big Idea • Big ideas are what’s needed to give a product or service an advantage in the marketplace • Every good product has a USP – Unique Selling Proposition. • This USP is one way to find your way to your Big Idea. • For example… 247
- 248. John Caples encourages a prospect to impress their friends 248
- 249. David Ogilvy sparks intrigue with a plain white shirt 249
- 250. Bill Bernbach turns the tables on big American cars 250
- 251. Name some big ideas… • Can you name some big ideas that helped a product or service rise above the rest? • What comes to mind? 251
- 252. Workshop segment: Create your OWN big idea • Who would want your product or service? • What are your product’s features and benefits that make it worth having and using? • What is your product’s Unique Selling Proposition… that is, what makes your product different and better than all others? • How could you describe or illustrate this to have immediate meaning to your customer? • Brainstorm with the person next to you to discuss these questions for 10 minutes each… and then we’ll discuss a few of your ideas. 252
- 253. Thank you! Alan Rosenspan, Nancy Harhut & Carol Worthington-Levy See you tomorrow at Part 2: Creative Rules that Work for Print Thursday Oct 17, 2012 — 8:30am - 12:00pm 253