Danielle Fay Baukh Creative Brand Manager
A FRESH LOOK BY DANIELLE BAUKH, CREATIVE BRAND MANAGER
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SINCE WE ARE IN THE IDEA BUSINESS, INTELLECTUAL PROPERTY IS OUR MAIN FORM OF CURRENCY. TIME SHEETS ARE A WASTE OF PAPER, ENERGY AND EFFORT. ONE GAME CHANGING “BIG IDEA” COULD BE WORTH TEN TIMES THE NUMBER OF BILLABLE HOURS DOCUMENTED. HOW DO WE SHIFT THE FOCUS TO TANGIBLE RESULTS AND A VALUEBASED COMPENSATION MODEL? WE BEGIN TO LEARN BY LOOKING AT A FEW BRAVE PIONEERS.
ANOMALY There is a reason Anomaly ranked 24th in Fast Company’s March article on the world’s 50 most innovative brands. It is because Jason DeLand and four former colleagues from TBWA\ Chiat\Day and Wieden+Kennedy recognized that the traditional agency compensation model was flawed. Instead of trying to improve the established model, they created their own. “We would rather invent the next VitaminWater than do the ads for VitaminWater,” said partner Carl Johnson. “What we’re really doing is generating profit from clients, then reinvesting in a venture fund for our intellectual properties.” Aliph hired Anomaly to help create and launch Jawbone, a new noise-canceling Bluetooth headset. Instead of traditional fees Anomaly negotiated an equity stake in Aliph and a percentage of Jawbone sales. This example illustrates the tremendous opportunities that emerge when a client hires a partner to not only do advertising, but think about all aspects of the brand and most importantly, new ways of generating revenue that can benefit both the client and agency. The fact that Anomaly was profitable in its first year of business and has subsequently doubled its annual revenue each year since 2004 is a testament to the need for this type of adjustment in our approach to agency compensation.
CP+B “Most agencies wait for their order at the end. The real bold and courageous agencies are looking to get invited to the party at the beginning,” said Jeff Steinhour, Managing Partner/Director of Content Management at Crispin Porter + Bogusky. “Compensation is the beginning of the conversation. Maybe the future is as much about product design and development as it is about traditional forms of communication.” For an agency that puts in so many hours, it is interesting to note that it hasn’t had time sheets for almost eight years. “We don’t believe we sell time,” said Partner/CEO Jeff Hicks. “We’re in the intellectual property business. Most of the hourly setups are tied to a clear set of deliverables. We do brand thinking across a range of different media.” Imagine being Russ Klein, Burger King CMO, when the CP+B partners pitched a presentation full of ideas that had the potential to significantly affect the client’s business. Translating the chain’s tagline “Have it your way” to the possibility of being able to push or pull open doors, use packaging and tray liners as advertising vehicles, rewriting the employee handbook, and eventually, pitching the idea of chicken fries. Crispin won the business in 2004, without showing a single ad because they proved they were interested in thinking about all elements of the Burger King brand from the aesthetics of
the physical space to the morale of their employees. Since then, they have had access to every aspect of the brand, from the kitchen to the boardroom. “They have been amazingly open to our thinking,” said Steinhour. “From the first quarter we started working with them, they’ve had 15 consecutive quarters of positive sales. Burger King hasn’t had business results like that since the 1970’s.”
OMELET Composed of advertising agency executives and Hollywood executive producers Omelet refers to itself as a new branding studio. Half of its business comes from work-for-hire engagements for brands. The ideas that emerge are not bound to any particular medium of expression, and compensation from clients is subsequently unburdened by the high overhead carried by holding company agencies, a set-up which they feel appeals to their clientele. “Traditional work-for-hire engagements aren’t dead, they’re just fading away,” said Mark Vega, former intellectual property attorney and one of Omelet’s four founding partners. Omelet doesn’t formally convey underlying rights to all the ideas they present, even in a “pay to pitch” setting. Instead, according to Vega, “clients only end up owning all rights, title and interest to the ideas they choose to produce.” The other half of Omelet’s business is creating, developing, and financing intellectual property with (and in some cases without) brand partners. Projects range the spectrum from Facebook applications to a wellness company with everything from feature film, television and video game projects in between. In the future, Omelet expects revenues will attain an even split between work-for-hire and agency ventures, and thereafter, the IP side of the business will likely surpass the marketing services component, at least in terms of profitability and long-term returns. “Equity deals are best because it’s a true partnership and we are completely invested in the success of those companies,” said Strategy Director, Ryan Stoner. “Ideally, each idea we create with a collaborating partner is a stand-alone experience capable of generating revenue that surpasses the initial marketing investment.” According to partner Steven Amato, “We’re living in a time when clients and consumers are starting to embrace the fact that marketing is the entertainment.” As proof that the marketing is indeed the entertainment, according to Vega, one of the short term frontiers is the creation of brand sanctioned, original shortform content for licensing. He says Q2 and Q3 2008 will see an explosion of small Web sites willing to pay $1,000 to $5,000 to license original short form content. Why is that special? The Web sites don’t mind if that content was initially financed and created by and/or for brands. Why does that matter? Brands will literally be receiving revenue from exploitation of the messaging they create. They’re not buying the time, they’re receiving a license fee instead – a model the Omelet partners have been preaching since the company’s inception.
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As the only intern hired to support the Account Management department, I had the privilege of working on many pieces of business, from the Porsche pitch to Wal-Mart. However, what I am most proud of was my role in initiating an internal sustainability audit and recommending our creatives develop a campaign to get the agency motivated to recycle.
Nalgene and Brita came together for a program called, “Refill not Landfill�. For this campaign we wanted to leverage this partnership to get our target, the Green Sheen, (people who were interested in being environmentally conscious, but not willing to sacrifice convenience or quality) to purchase and use Nalgene products. Our key insight was that water from a water fountain or tap doesn’t always taste good, while plastic water bottles are generally a safe bet. What if Nalgene could offer a product that could deliver the same quality of water found in plastic bottles, from any water source, for free?
As the leading manufacturer of gummi and jelly sweets in the world, as well as the original creator of the gummi bear, Haribo should be synonymous with gummies. What we found through consumer research was that people recognized the brand’s iconic bear and gold packaging, but could not recall the brand name. Our communication efforts aimed to integrate the brand into the lives of our targets (parents and children) through packaging adjustments, line extensions, partnerships and differentiation initiatives.
The print campaigns were designed to differentiate Haribo as the gummi candy that has real, distictive flavors.
Real flavors made gummi.
Partnership with boardgames to promote learning in conjunction with the enjoyment of Haribo.
Real flavors made gummi.
Real flavors made gummi.
Adjusted packaging to promote Created containers and Ziploc bags moderate consumption of product. to help integrate Haribo into the Able to keep product fresh longer. daily lives of our target.
Palmer’s Cocoa Butter Formula has two distinct groups of consumers, ethnic and pregnant women. We did a deep dive into the skincare market to determine where the brand lived on a perceptual map, amongst the brand’s competitors. This led to the discovery that Palmer’s could own the space of most functional benefits at the lowest price point, which ultimately led us to a new group of women to target, teenage girls ages 15-18. This is a smart, strategic move for several reasons: their bodies are changing and our products can help, Palmer’s is affordable, and it allows the brand to start a relationship with the consumer at an earlier life stage so that when they do become pregnant they are more apt to purchase a familiar product they have already used.
Support: 70 % of all teenage girls get stretch marks Key Insight: Notice me, not my flaws Creative Tone:
Butter fat, that is. And we don't mean on an English muffin or a baked potato. Palmer's Cocoa Butter Formula is an indulgent lotion made with pure cocoa butter, vitamins and emollients. Besides wrapping your skin in creamy comfort, it fades unsightly stretch marks and scars. So for beautiful skin, spread on a lot.
Butter up.
In addition to a fresh logo and tagline, we created packaging to emulate actual butter.
And believe us, you'll want it to go there. Whether you put Palmer's Cocoa Butter Formula on your buns,
Butter up.
thighs or arms, you're going to have super soft, even-toned skin. It also smoothes and fades stretch marks and scars. Unlike eating a tub of Chocolate Brownie ice cream in one night, the more you use the better you look.
Butter up.
Lotion dispensers in dressing rooms where skin flaws are most apparant.
Danielle Fay Baukh 123 E. Broad St. #3D 908.418.6865 Richmond, VA 23219 Danielle.Baukh@gmail.com __________________________________________________________________________________________________ EDUCATION: Virginia Commonwealth University Adcenter, Richmond, VA 2006-present Masters of Science Candidate: Creative Brand Management GPA: 3.8
CBM curriculum combines fundamentals of the traditional MBA, the strategic elements of business and marketing, and real-world experience working with creative teams to develop brand strategies that solve business problems with a heavy emphasis on group collaboration. EXPERIENCE:
James Madison University Harrisonburg, VA Bachelor of Science: The School of Media Arts and Design GPA: 3.6 Concentration: Corporate communications; Minor: Creative writing The University of New South Wales Sydney, Australia
The Toro Group Bethesda, MD 2005-2006 Automotive Advertising Agency, Account Executive • New business development. Recruited to create opportunities for the agency. • Pitched and acquired three lucrative accounts. Brought in over $60K in revenue/month.
The Washington Examiner Alexandria, VA/Washington, D.C 2004-2005 Newspaper, Automotive Account Executive • Responsible for acquiring and managing ten new accounts. Sold print and web. • Successfully sold against The Washington Post and The Washington Times.
Saatchi and Saatchi Healthcare Manhattan, NY summer 2004 Assistant to the President and CFO • Executive office duties. Handled visitors, phones, expense reports, spreadsheets, etc.
BLUE Magazine Soho, NY summer 2001 Marketing Associate, “National Geographic with a Rock and Roll soundtrack” • Developed and implemented New York City Summer Marketing Program. Analyzed target audiences, researched innovative sites and forums to disseminate magazine to key markets.
LEADERSHIP:
JMU Student Government Association, Harrisonburg, VA • Senior Class Vice President- ran re-election campaign from Australia 2003-2004 • Sophomore Class Vice President- led class of 3,000+ students 2001-2002 James Madison University, Orientation, Harrisonburg, VA spring, summer, fall 2002 Orientation Program Assistant • Assisted with the execution of highly successful freshmen and transfer student programs.
ACTIVITIES: LANGUAGES: SKILLS: HONORS:
spring 2003
The Martin Agency Richmond, VA summer 2007 Advertising Agency, Account Management Intern • Initiated an internal sustainability audit and contributed to the new business pitch for Porsche. • Competitive tracking and strategic thinking for Wal-Mart and Cruzan Rum clients.
University of Richmond Synchronized Swimming Coach, 2006-2008; JMU Water Polo Co-editor, Sister Speak JMU Literary Journal, Tri Sigma Sorority; Alternative Spring Break Russian, Hebrew (Working knowledge) MS Office, Photoshop, iMovie, Illustrator, InDesign, Idea generation AICP Director’s Scholarship 2006-2008, National Society of Collegiate Scholars, 2000-present Collegiate Water Polo Association All- Academic Team, 2001, Gardy Loo Lit Mag featured poet US Synchronized Swimming National Team Trials Participant, Top 20 ranking; 5 National Titles