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OREO and PHX Savor Sweet, Sweet Victory

It’s a big world of shopper marketing out there, with lots of companies. Companies with bigger budgets. Sometimes, though, it’s not the dollars that win. It’s the work. It’s the heart. Phoenix Creative was just awarded the coveted Super REGGIE at the 2019 ANA Awards Gala. It was a surprise and an honor to be presented with a trophy for the best Shopper Marketing Campaign of the year. Are we pumped about it? Heck yeah!

 

As we celebrate the victory, however, we know that it’s grounded in good work. Hard work. Work that really moved the dial for OREO and its parent company, Mondelēz International.

 

Our contribution to the launch of OREO Mint Hot Chocolate at 7-Eleven stores nationwide included a blend of traditional and digital marketing tools: a strong social media influencer push, an OREO mobile game, and a vivid in-store experience.

 

The result? OREO Cookie reversed a negative consumption trend and swung it over to double digit growth. With results like these, it’s almost no surprise Mondelēz International and Phoenix Creative took home the Super REGGIE.

 

“Our congratulations go out to Mondelēz International and its agency for capturing this award with such an outstanding piece of work,” said ANA CEO Bob Liodice. “The competition was particularly intense this year, so all the winners should be proud of their achievements.”

 

Yep, we’re the “its agency” part of that statement.

 

It’s not every day that great work gets rewarded in such a big way, but it is the great work we do every day that enables the wins.

 

Phoenix Creative, doing awesome work on deadline for your bottom line.

After 30 Years, Phoenix Creative is Moving but Staying in the Neighborhood

We moved! For 30 years we’ve seen our business grow and change from the 7th, eventually expanding to the 6th, floor windows of the Curlee Building (611 N. 10th Street). (there had been a few physical iterations of PHX, at one point we spanned the top floor of three buildings, Curlee, Dorsa, and whatever is next to it.) However, on February 23rd, we moved approximately 4 blocks east to 555 Washington. We took our experience, our clients, our energy, our excitement, and a few desks and Apple products and left behind a well-loved workspace.

Remaining in the vibrant and creative downtown area was important to us. The entire agency shares an appreciation of the energy, passion and pioneering spirit of the businesses that dot the Washington Avenue corridor we’ve called home the past 30 years. From the T-Rex incubator that neighbors our previous address to the growing number of innovative technology and media-based businesses that surround our new location, a communal spirit of innovation seems to pervade the area. If there’s one thing the agency has learned over the years, it’s that you have to evolve to weather the wildly changing markets, shifting trends, and transitions in technology the industry has seen the past 30 years.

Ultimately, the goal of connecting staff to work, exposing agency innovation across accounts and providing a flexible environment that could morph and adapt quickly as we grow could only be achieved by taking a big step. Turns out, that step was only 3 blocks away, but it feels like it could be a world away and for all the right reasons.

Work started on the new space in the fall of 2018 concluding in February of 2019. Created with the help of Nehring Design, Phoenix Creative’s new offices showcase modern work stations featuring hand-crafted latticework that provides a sense of privacy while still allowing for spontaneous collaboration to help connect employees to each other and better serve the agency’s clients. A collection of private offices, collaborative spaces, and a more sophisticated photography studio augment the space providing improved functionality and flow for the changing agency.

We’ve been here a month, we moved in, got to work, and the space feels like Phoenix.

Saying Goodbye to PRINT

Now I’m not saying PRINT magazine was the sole reason I selected graphic design as my academic major, but boy did it sure have a lot to do with it. The Internet was certainly a thing as I exited high school, but in the late nineties I was still gleaning my sense of the world primarily through tangible materials. PRINT was not only a source of information and inspiration; it also served as a beacon, an apex of the printed object itself. Paper samples from French and later Yupo would be bound in with the rest of the gloss paper stock giving the magazine a feel of part art-object part publication.

Earlier this year I found out, (rather late I suppose), that PRINT was going out of, well…print.

This is a shame. PRINT is going to be missed. Even if you never cracked a cover, you should miss it. What will especially be missed is the PRINT Regional Design Annual. To be honest, it really is the idea of the annual that I believe we should miss the most.

Here’s why; it represented two critical things for our industry. (And when I say “our” industry I am not only referring to graphic design; but marketing, mass communications, illustration, shopper marketing, typography, commercial art, content marketing, marketing content…call it what you will.) The first is that the annual was a collection of work that subjectively represented the best of our craft. It was a guidebook, a premier on what relative approaches were appropriate for current culture and time. Second, and this one is important—it represented a goal. If you worked as a graphic designer, art director, account manager, creative director, writer, photographer, illustrator, you name it…you wanted to say at least once in your career that you were included in the annual’s collection of work.

It was always my goal, one of the “KPI’s” I sought to validate my career but I never made it into the annual and so I’m left to speculation as to whether my work was ever close to being selected.

And I’m good with that.

But what I’m not sure I’m good with is that in our industry’s assumed digital maturity that the need for analog print, for paper, for design to be held up as it’s own discipline should be ignored or presumed invalid or dead. Even as the size of the PRINT RDA dwindled over recent years you still got a sense of the vitality of printed material’s relationship to design. I believe human beings’ relationship to printed material is just as important as our relationship to digital material, social content and even voice.

PRINT will apparently live on as an online community and while I hope it thrives in that new iteration our industry should continue to champion the types of design and thinking that can only occur on paper and tangible formats. Furthermore, designers and thinkers still need to seek validation for their craft beyond the reach of their social feeds. Regional and national award shows such as the Addy’s are great, but in a sense they are ephemeral, (if not highly political). They are fleeting, but the record and residue left behind through printed and published material leaves strong evidence and inspiration for us and the future makers and thinkers in our industry…and in our communities.

Phoenix Creative Co.