Pigeonholed as Print
Mostly Interaction
Mostly Visual
When I'm not Doing

O'Snow
2002 Advertising Campaign
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Art Direction, Design, Photography (product & model)

Key Challenges
• Page 99 (or thereabouts) was our purchased spot in each of the 3 pubs our ads ran in, and we always shared the spread with a page that had 4 or 5 micro-ads all stuffed onto it, or an article if we were lucky (pictured above).
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• O'Neill sponsored riders were "big-mountain" riders, not terrain-park or stunt riders. Burly photography and the status of your rider is everything, in both making a memorable brand impression, and in getting your ad ripped from the magazine and stuck on the inside of a locker door, a bedroom wall, etc.

• No budget for professional studio photography meant learning how to style flat product shots, and how to fudge studio sessions with pro-riders modeling the gear; all with an early generation Cannon Powershot.
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• Because our guys conqueored huge mountain faces and not halfpipes, most available action photography was usually a pinpoint-sized guy in the middle of a huge white mountain. Helicopter photograrphy is epic in spreads, but not so much on a single pages. O'Neill riders were also lesser known older folks, and little-known up and comers (including Jeremy Jones—who was incredibly lovely to work with).
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• For a single page to make an impact, too much seemed to be required by Marketing, in too small of a space to yeild much more than visual potpourri.

Results
· Riders were pleased with the campaign, given budgetary constraints.
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· Everyone finally agreed- the full committee of 12 or so- on this direction, the final direction explored after many prior, was acceptable. Nothing award winning, but it worked—it represented the brand, and clearly communicated what folks shopping for gear want to learn about to inform purchases.