Art, academic contributions, political action, food, and more demonstrate the Black genius and resilience that influence every aspect of our culture. Black history is one we should all be proud of. There is place in this movement for all of us.
Our journey is made stronger when we feel a sense of connectivity to one another. TWIST is proud to recognize Black History Month by uplifting the efforts of our community and amplifying the contributions of several Black leaders in Cleveland. These individuals illuminate our path toward a more just — and inspired — society.
Bishara Addison
Bishara Addison is no stranger to public policy issues. The Shaker Heights native served in the Ohio House of Representatives and is currently with the philanthropic alliance Fund for Our Economic Future. She’s an indispensable member of its staff, bringing to the table a better understanding of job preparation and workforce development — helping the area achieve more equitable economic growth.
Bradford Davy
After leading Cleveland Mayor Justin Bibb through a successful election bid, the savvy of Bradford Davy is ever present. The Near Westside native now serves as Chief of Staff for the City of Cleveland. Bradford focuses on many efforts, including featuring Cleveland’s rich diversity, addressing the city’s racial inequities, and increasing opportunities for the entire community. He can often be seen supporting neighborhoods, businesses, and nonprofits.
Tony “The Insomniac” Ferguson
Tony Ferguson is a champion for the arts in Northeast Ohio, using his show on iHeartRadio to shine a spotlight on and empower up-and-coming artists from Cleveland. This year, his efforts include recognizing 50 years of hip hop — a fitting celebration for the city that is home of the biggest selling and most influential hip hop group, Bone Thugs-N-Harmony.
This is only a snapshot of the trailblazers, innovators, and activists creating positive change in Northeast Ohio. The Fearless Thinkers at TWIST are honored to have worked alongside these individuals and are happy to offer a small sampling of their stories to tell a broader narrative about Cleveland’s rich diversity.
What was once a couple of hours full of the best advertising has turned into a week of advertising – but is that the right solution?
I remember once following along with Adweek’s liveadvertising tracker. It was the day before the Big Game, and the public got a glimpse of just a handful of spots. Some you could watch in their entirety. Others were simply a preview. Over the last few years, especially since the pandemic, it seems every ad can be seen not just days ahead of the Game but weeks. It’s easy to see not only the spots, but who may be starring in them beforehand.
We’re also seeing more and more brands reworking their media buys as costs are increasing year-over-year for those precious :30 spots. No longer are we talking about commercials during the Game, but brands are finding ways to start the conversation days before and weeks later. We’re even seeing big sponsors, like Pepsi, change their relationship with the Big Game.
Consider the announcement from M&M’s earlier this month. I am convinced that this is all part of a Big Game stunt leading up to their spot during the game. It’s included a social announcement, a spot from Maya Rudolph, and online conversations among fans and friends of the brand. (In fact, other brands have started to mimic the announcement – check out A&W Root Beer.)
Why are brands planning to release early?
To maximize that dollar (and by dollar, I mean $7 million just for the media buy itself). Not only does the early release mean more people may see your ad, but it also builds anticipation for anything else the brand may be up to as the game approaches. It could be multiple spots, a social media engagement, or a pre- or post-game experience.
For more eyes on the prize.It’s not guaranteed that your audience is going to be watching the Big Game, or if they are, that they will see your spot. CMOs need to show ROI now more than ever and the more eyes that see a spot — especially with such a big spend on the line — the better. Releasing early not only gives the brand the chance to be seen by more people, but it also allows for different and new executions. Think TikTok or Instagram. A (very expensive) :30 spot can be easily edited into multiple TikToks or Reels.
To start a conversation with your audience. That Sunday night is not just about football. Nearly everyone has an interest in the ads. Viewers are on social media, and this second-screen opportunity provides brands a chance to build a relationship with those consumers. And let’s not forget the social media Influencers who will likely be making an impact for some brands during this game. They’ll get people talking for sure.
For more places to reach your audience.There are other games and big events that attract eyes and attention from a broader audience. Think: NBA All Star Game, MLB Championship Games, March Madness, and award shows. In many ways, brands have more selections than ever before and don’t need to just use the Big Game to reach their audience.
Will the Big Game still be Big in five or ten years? I don’t think it’s going anywhere, anytime soon. I do think Big Game ads and the way that brands engage will evolve. No matter what, I hope the Big Game still brings together advertising professionals – it’s one of the best nights of the year for many of us.
For those wondering, I have not yet watched one big ad spot. I plan to watch live with millions of others that special Sunday. If you’d like to join along in the conversation, follow @TWISTtweets and @cacoughlin on Twitter for insights and reactions throughout the evening.
Taylor Swift has set the standard when it comes to artists releasing music. She has mastered the thrill of the announcement for her fans (and honestly, her foes too). But has Taylor established herself as the ultimate CMO, as well? (Disclaimer: there are so many talented CMOs that I admire and look up to – this is just a Swiftie sharing her thoughts on how Taylor and her team have become marketing pros.)
First things first — Taylor plans. I’m convinced she plans years in advance. She knows exactly what type of music she’ll be releasing, how she’ll promote it, how she’ll get her fans excited, and determines every single Easter egg she can place in a TikTok video, Instagram post, interview, album cover, Spotify image, or music video. Her fans will spend weeks dissecting what each post or video could mean. Will there be a tour? A rerelease of her past music? And what does each number 13 mean? Will it be a country album? She keeps people on their toes and wanting more.
She energizes her fans in ways that seem improbable. Rereleasing music that fans have had access to for years? No problem for Taylor. She breaks record after record by explaining her reason for rereleasing music (so that she owns it herself) and includes hidden gems in the form of never-released songs. Winning awards years after she wrote a song? No problem for Ms. Swift. And those fans are ready for literally anything. Taylor suggests they stay up until Midnight for a new album — guess what? They do it. Oh, there’s another 3 a.m. release? They are ready — credit cards in hand to make yet another investment — in their favorite CMO, T. Swift.
Taylor also knows when it’s time to bring in support. Partners, sponsors, or in her case other friends/musicians that support her and her music. That can be anything from her relationships with Apple Music and Spotify to her friendship with Selena Gomez and other artists that post almost as often as she does when there’s something new on the way. She works to make sure her partnerships are mutually beneficial, but most importantly, that they work for her fans and customers.
As a fan, one can’t ask for a better communicator.
She has fun teasing her product, but she also builds real relationships with her fans, often commenting on their TikTok videos, throwing surprise parties, paying off education bills, or sending surprise gifts. Even when she’s quiet, Taylor is still in the background up to something. She’s built such a reputation (get it?) that her fans notice minor things like when her Instagram changes or she switches out a profile picture. Just like the CMO, she understands the need for the relationship between brand and audience. She’s always looking to enhance that relationship, engage with the audience, and have some fun along the way. Her strategy and creativity build her team and fans up and create engagement in a way that other artists have not.
But Ms. Swift hasn’t done everything right. And we saw that very recently with the ticket debacle for the Eras tour. (I’m a very upset Swiftie who is still hoping to get tickets to Chicago.) She went silent — something that she doesn’t do often. She usually comes out quickly to let her fans know that she’s working on a solution, but this time we had to wait. Her response wasn’t the usual clear solution that so many are used to from her. However, the Swifties activated, and all of a sudden Congress is looking into the issues of the ticket monopoly and the resale industry.
The power of a Swiftie is just like that of a brand advocate – willing to stick up for the brand, purchase no matter what, and ensure change.
Is Taylor the Ultimate CMO? We will continue to watch, but her ability to adapt, build a business strategy, as well as continue to build her own personal career path is one to watch for all of us.
As far as Taylor’s next move? Well, even the best Swifties know not to try and guess.
There are few things more important in design than the use of color. It can be used to provoke emotion, create a mood, or provide an aesthetic experience. Color can be bold — like the Fearless Thinkers or Pantone’s 2023 Color of the Year, Viva Magenta.
“It’s the color of jewels, kings and queens, holiday traditions, a soothing glass of red wine, and it is fearless — just like TWIST.”
— Connie Ozan, Co-Founder and Chief Creative Officer
Pantone’s much-anticipated Color of the Year announcement has become a pop culture phenomenon. This year’s “it” color is Viva Magenta, a hue described by Pantone as “a new animated red that revels in pure joy, encouraging experimentation and self-expression without restraint.”
Pantone forecasts global color trends, but according to Connie, the value of Pantone’s announcement is how it sparks creativity for designers.
“Color breathes life into our visual identities,” Connie says. “It can set the tone for a brand and influence consumer behavior.”
She would know. For nearly 25 years, Connie and the Fearless Thinkers at TWIST have transformed over 200 brands, advising them on color in brand identity, product development, packaging, collateral, and more.
“We use Pantone religiously,” Connie says. “It’s the starting point for all our client projects.”
Excited to put our stamp on Viva Magenta, we challenged our talented design team to spend time working with the color. Their creations reflect exactly what Connie expected: unrestricted self-expression.
Designer Tori Reibenstein chose to honor a moment she deems special: coffee time. Viva Magenta reminds her of a dark, luxurious shot of espresso. Her work is an expression of creative energy — caffeine induced or not — featuring the vibrant color.
“It’s a balance — warm yet cool, assertive yet not aggressive, historical yet futuristic,” Tori says.
Designer Thiago Wimberly had a different vision for his piece. Inspired by Baroque and Rococo art, a style that is experiencing a modern rebirth in fashion, architecture, and design — Thiago made his representation of Pantone’s color choice wild yet inviting.
“Viva Magenta is like the blood running through our veins: intense, rich, and so full of life.”
— Thiago Wimberly, Designer
While TWIST takes advantage of access to Pantone’s digital library, it is not uncommon to find Thiago and the rest of our design team with physical swatch books.
Design Manager Rachel Teuscher finds greater inspiration and color palette options when flipping through the books. She was surprised by Pantone’s announcement but found its bold color confident and empowering. She used this conversation as a unique opportunity to have fun with color and illustration, highlighting Viva Magenta’s pink tones.
“Color is emotive,” Rachel says. “Our choices of color can be powerful in the sense that they can manipulate the tone of any moment.”
For this moment, it seems Viva Magenta is about celebrating life and being unapologetically yourself.
Connie agrees. “I think there’s going to be a trend that goes back to attention to detail,” she says. “People are starting to crave that again after everything became so stripped back and minimal.”
Pantone’s Color of the Year announcement is not just important to designers but for brands looking to build a strong, powerful presence in the marketplace. Whether you are undergoing a rebrand or planning to launch a startup, understanding the impact of color will help you choose the right colors to improve brand recognition, generate positive customer response, and build brand loyalty.
Photo Credits: Hester and Cook, Vogue, Gucci spring 2023 ready-to-wear photo: Armando Grillo / gorunway.com
TWIST is expanding its design capabilities with a new creative mind on our design team. Fearless Thinker Tori Reibenstein has welcomed the creative agency life with open arms, putting a “Tori-twist” on everything she designs.
“Tori is bubbly, bright, creative, and has a really great sense of humor. She’s a perfect fit for our team.” — TWIST Chief Creative Officer Connie Ozan
Tori’s fresh energy translates into her design work — inspiring both writers and designers on the team. That, paired with her ability to seamlessly collaborate and take initiative, has already been essential to our client projects.
“Tori is attentive to client needs and her unique, interesting sketches and designs show that,” Creative Director Monina Wagner says.
From grabbing lunch with the team in Tremont to brainstorming ideas during meetings, it feels like Tori has always been a part of our environment.
Tori holds a degree in Graphic Design, having graduated from Bowling Green State University. She first learned of TWIST in a sophomore design class and has been a fan of the agency ever since.
“A teaching assistant was showing my class random agencies she liked, and TWIST was one of them,” Tori says.
“I loved the work and knew TWIST was a place I wanted to be part of.” — Tori Reibenstein, Graphic Designer
TWIST had our eyes on Tori too, first meeting her a year ago. With an open position on the design team, the Fearless Thinkers reconnected with Tori, knowing she would be a great fit for the agency.
Tori comes to TWIST with a background in publishing for an in-house design department. Now, she’s made the transition to Cleveland’s Brand Agency, tackling a mix of project types for a range of clients. She enjoys conceptualizing and designing exciting creative for our clients and says she’s learning to have fun with design again.
“I’ve enjoyed challenging the right side of my brain with the help of the design team to further develop my skills critically and creatively,” Tori says.
Her right brain is already in full creative mode as she dives fearlessly into new projects, embracing new design challenges with a positive spirit. Her passion for her work continues to inspire and energize the team every day.
Please help us in welcoming Tori to the growing TWIST team!
Over the last month, conversations with my marketing and agency friends have been abuzz with talk about Twitter. More specifically, we’re discussing the viability of the platform for brands under Elon Musk’s leadership. Is the situation as bad as it seems? With an uncertain future, is it time to panic? Should we tell clients to stop tweeting? Worse yet, should we deactivate our personal accounts?
I was an early Twitter adopter and watched the app evolve. I was initially attracted to Twitter because it felt like a group of friends sharing interesting tidbits. The discussions were lively and robust. I began talking to TWIST President and Partner Charlene Coughlin on Twitter over a decade ago, and we eventually met at a local Tweetup. I received a job offer on Twitter. I had conversations with celebrities and celebrated big moments during major sporting events. There was a sense of community, of meaningful connections that you couldn’t find on other platforms. No surprise, that’s great for brands — and combining the two made my career in content even more enjoyable.
But admittedly, I’m using the app less. For as much fun as it was, let’s not forget that Twitter has always had problems. The platform is a breeding ground for bullying, harassment, and misinformation. Trolling hit new heights in recent years. You can find the worst in humanity if you’re looking for it.
Now, amid the ongoing drama, I find myself closely following the news so we at TWIST can advise our clients. As it stands, there are several implications stemming from Musk’s takeover.
User unrest. It’s estimated that Twitter has lost more than a million users since Musk took over. Over a month since leadership changed hands, users continue to threaten to leave.
Lack of resources. A mass exodus of Twitter staff in addition to extensive layoffs has translated to a loss of knowledge at the platform. Many are now wondering who is left to handle changing audience needs with a lack of support staff and community moderators.
Security risks. Some of the notable resignations at Twitter include top security officials. Cybersecurity experts now believe security holes exist that could lead to compromised accounts and question if the app can fend off such threats.
Potential FTC repercussions. Several legislators have asked federal regulators to investigate any possible violations of consumer protection laws or of its data security commitments, leading to more distrust and safety concerns for users.
Damage of reputation. As it wades the waters of bad publicity, lack of trust, and weakened engagement, we have yet to hear a philosophy that spells out Twitter’s commitments to its community. This can hurt the app in the long run.
What should you do now?
Archive your tweets. If there’s something you care about on Twitter, now’s the time to download your content. In your account settings, you can ask to download an archive of your data. Your Twitter archive saves all your information starting with your first tweet. Twitter says this could take up to 24 hours to receive, but be warned, I’ve heard friends say they’ve waited a few days for their archive.
Know where your customers are. Do your research. If your customers on are on Twitter, you won’t want to abandon it. Customer care interactions on the platform should continue. Plus, you’ll want to gauge the platform’s longevity and see if customers stick with it.
If you find audiences engaging elsewhere, broaden your focus to those social media apps. Or start experimenting with platforms you are curious about — like TikTok or BeReal.
Move from “rented land.” My friend Joe Pulizzi, founder of The Tilt and author of Content Inc., has forever preached about the pitfalls of building brands on rented land. Think about it. What’s more beneficial: content published on your website or social media posts and fans that could disappear when maniacal ownership decides to shut down the rented land? Joe’s team at The Tilt suggests having a strategy to move your rented followers to things you can more control, like an email newsletter or an owned membership site.
Musk sees “extraordinary potential” in Twitter, so more changes are likely on the horizon.
Take into consideration that there’s a real possibility Twitter will not survive. And if it does, the Twitter you once knew could become a thing of the past. So, use this time to rethink your 2023 social strategy (or start one if you haven’t already).
Is there a Twitter alternative?
Sorry, there’s nothing that can replace Twitter. It’s a special social app. Facebook is well, Facebook. LinkedIn is a place for professional networking, not real time conversations. Reddit is pretty siloed, particularly when you compare it to Twitter’s digital town square format.
Mastodon, Hive, and Post are platforms seeing an increase in new users, particularly those flocking from Twitter. All three social sites share similarities with Twitter and have quirks of their own. But none appear to be a firehose of headlines, memes, and hot takes like the blue bird app. With all that’s going on, it’s difficult to predict what might be coming next. Can any site foster the same communities and conversations that thrived on Twitter? It’s too soon to know for sure, but you can count on TWIST to keep you up to date on the latest developments. All we can say is, “stay tuned.”
Chapter 1: The Late Nineties, Uniting art and message (1997-2000)
It was a time when fax machines were big, computers were happy just being beige and Cleveland was as exciting as an 80’s suburban bank lobby. That’s when Mike met Connie and a mission was born.
The two were married in ’99 and by 2000 began TWIST a brand agency with a two-word mission: fight mediocrity.
“TWIST was founded to change the conversation about Cleveland.”
— Mike Ozan
With their honeymoon in the rearview, Mike and Connie began a multi-city search for proper agency inspiration. The couple sought to build upon the C. Ratka Design brand, the design agency founded by Connie in 1997 which already had made waves with work for Cleveland Public Theatre and several corporate brands. They visited with New York and San Francisco agencies who were committed to business objectives that included community enhancement and local small business growth.
The couple observed that significant neighborhood and community revitalization was so often led by the arts community. More than giving buildings new life and new purpose, uniquely arts organizations have the power to attract a city’s wealthiest citizens to neighborhoods most in need of investment.
By building the brands and attraction strategies of the city’s cultural offerings, TWIST could help to spark movements that improved the quality of life for Cleveland. The agency’s first clients were those in the city’s avant-garde performing arts community.
These included: Cleveland Public Theatre, Red {an orchestra}, Verb Ballets, and Cleveland International Film Festival.
Chapter 2: From Arts to Neighborhoods (2001-07)
In the summer of 2003, TWIST moved from the Prospect Park Building in Midtown, Cleveland to the historic near west Cleveland neighborhood of Ohio City. The location was selected intentionally as emblematic of the agency’s pioneering spirit and desire to be a part of the neighborhoods where their growing list of arts and community clients were already located. The agency renovated a 19th century mill worker flop house into a spacious creative center for clients, the community, and its staff.
“When we relocated to 1985 W. 28th Street, we had to describe the location by triangulating between the West Side Market, St. Ignatius and Great Lakes Brewery. The neighborhood name Ohio City was unknown, by 2011 TWIST had changed that and solidified its place as a creative problem solver whose strategies attract development and create jobs.”
— Connie Ozan
Fighting mediocrity gained credibility as a mission, and the popularity of the campaigns created by TWIST demonstrated the agency’s unique ability to blend bold message and design in way that delivered significant value to clients. Rapid growth for both clients and the agency followed.
From 2004 to 2005, TWIST experienced an 80% increase in revenue and was named one of Weatherhead’s 2006 Upstart Companies. By this time, TWIST had won over 100 local, regional, and national awards for design and creative excellence. In 2007, Connie was recognized in Crain’s Cleveland’s Forty Under 40 list and in 2009 Mike was named by Graphic Design USA as an Agency Leader to Watch.
In 2006, TWIST authored an entirely new brand strategy and launched a new identity for the Sisters of Charity Health System. The agency continued to guide their 20 member brand family for the next 15 years.
TWIST’s impressive network of local and national clients was growing — Cleveland Institute of Art, American Greetings, Time Warner Cable, Dots, Fifth Third Bank, and Cuyahoga Community College.
Chapter 3: Be a brand that matters. (2008-13)
In 2008, the recession threatened the agency. Like many businesses, TWIST was forced to lay off some of its employees and national clients were costing too much to maintain. TWIST resigned accounts in both NYC and San Francisco to focus on Cleveland. The agency leaned into its community work, focusing on projects that contributed locally.
While there were many low periods during this era, TWIST was able to build strong relationships with the local brands it supported and find new opportunities close to home.
In 2009, TWIST won the work to build the brand and attraction strategy for the Ohio City neighborhood, and for the centennial celebration of the West Side Market. The strategy and campaign reduced market district storefront vacancies from nearly 40% to zero in less 18 months, creating $100 million in economic impact and 400 jobs. Today, Ohio City is a thriving neighborhood in very high demand.
TWIST continued to take on projects that revitalized Cleveland. A year later, Downtown Cleveland Alliance engaged TWIST to change the conversation about downtown Cleveland and attract more businesses back to the urban core. With built outdoor moments and video content highlighting champions of the downtown area, the TWIST campaign reduced vacancies in class B and C office space by 60% in the first year, reversing the cycle of companies fleeing downtown for the suburbs. During this period, TWIST also created the brands and attraction strategies for the Cleveland Health Tech Corridor, the Old Brooklyn Neighborhood, as well as a number of other neighborhood CDC organizations and the nonprofits that support and advocate for them.
In 2011, the team at TWIST launched an entirely new brand strategy and fan engagement campaign for the Cleveland Indians and continued for the next five years as the MLB team’s brand agency.
The agency’s clients had grown to include St. Ignatius, Cuyahoga Community College, Cleveland Guardians, Sisters of Charity, and Paladar.
Chapter 4: Claiming Fearless Thinking (2014-18)
In 2013, TWIST joined forces with the City of Cleveland to attract and host the 2014 International Gay Games. TWIST donated their work and built the identity and messaging that welcomed the world to Cleveland.
In 2014, now President and Partner Charlene Coughlin joined the TWIST team, creating the account services department. Before TWIST, Charlene held leadership and management positions at both advertising and nonprofit agencies. Using her expertise, Charlene developed a sophisticated business model that set the TWIST team — and clients — on a path toward sustainable growth. She was later promoted in 2017 to Managing Director.
In 2015, the agency rebranded itself and claimed a new philosophy: Fearless Thinking — the permission to boldly explore new ideas, uninhibited by the way things have always been done.
Motivated by an expanding pool of clients, the addition of new team members, and expansion in several service lines, TWIST relocated to the Cleveland neighborhood of Tremont continuing the agency’s commitment to participate in positive economic growth. Now, in the renovated Fairmont Creamery, the agency had the open floor plan and a build out that reflected their brand values and connected the business to its community.
As a demonstration in Fearless Thinking, TWIST launched an outdoor advertising experiment in 2017 that sparked national conversations. These strange billboards were named one of the best outdoor campaigns by Adweek that year and proved that outdoor advertising was still an effective medium to start conservation.
“We were overwhelmed by the online response to our experimental billboard campaign and the feature by Adweek inspired us to keep thinking fearlessly.”
— Charlene Coughlin
Chapter 5: Cleveland’s Brand Agency (2019-23)
TWIST’s fearless mindset was proving to be successful. By 2019, the company had won over 250 awards, was Emmy nominated for its creation of the CHN Housing Partners mini documentary, and had won the work of billion-dollar company PURELL®.
Just as the agency was hitting its 20th anniversary, COVID-19 moved everyone out of the office for an unexpected two years of working from home.
The agency, however, would not be deterred by a global pandemic, and its momentum to serve Cleveland brands and causes continued. In the spring of 2020, TWIST launched Brand X — a team of local branding, creative, marketing, culture, and business experts dedicated to helping Cleveland small businesses, causes, and their leaders navigate through changing economic and cultural times – pro bono.
Along with Brand X, the agency also created My Pandemic Pivot Tool Kit, a response to the needs of smaller brands, businesses, and nonprofits, who lack the resources but have a great need for agency guidance when it comes to restoring sales or donations.
Amid COVID recovery, TWIST solidified what it had known since the beginning: Cleveland clients deserve better. That’s why, to this day, TWIST continues to stand up for our community, our clients, our team, and our values.
Despite a global pandemic, 2020 was the year Charlene was selected as an Adweek Executive Mentee and spoke at Brandweek on issues related to equity and diversity in advertising. Today, she still uses her platform to share TWIST’s values with industry professionals across the country and expand our creative network. The next year, she was named President of TWIST and included as an Adweek Women’s Trailblazer. In 2022, she joined Mike and Connie as an equity partner in the agency.
Under the leadership of Mike, Connie, and Charlene, the agency continues to live and grow our dedication to the community. The Fearless Thinkers care not only about the projects we work on but about the clients themselves and their values. In 2022, TWIST introduced charitable giving opportunities for our team and clients, flat rate pricing for non-profits and educational institutions, as well as new wellness and continuing education incentives and benefits for TWIST employees.
With eyes on the future, TWIST is still growing its team. Two years after the pandemic began, TWIST hired the first member of its expanding content writing department. In 2022, the agency has worked to elevate the client experience and tailored its services in a way that delivers the highest performance for the challenger brands and disruptive causes it serves.
After experiencing some of the largest growth in company history, TWIST is investing in the future of agency leadership. We are proud to announce the appointment of three members to our leadership team. Andrea Buskirk, Monina Wagner, and Stefanie D’Angelo embody what it means to be Fearless Thinkers, daring to make our clients and the agency world even bolder.
“Today, we’re known for more than just our work. We stand out because our leaders’ visions for ourselves and our clients make waves, reshaping the future of the industry,” says Charlene.
These appointments parallel a drastic increase in our client network. TWIST is optimizing our team’s capabilities to help even more Cleveland brands and causes impress the world. In this period of growth, Andrea, Monina, and Stefanie will continue to help us live our promise to our clients of creating an experience that’s easy, affordable, and fun.
Andrea Buskirk
Andrea has been promoted from Account Executive to Account Director. In this new role, Andrea will continue to build client relationships while working to grow an account team that manages every phase of the marketing cycle. Her willingness to embrace the ebbs and flows of business helps TWIST deliver on what’s being asked and to think of solutions clients can’t. Her respect for client goals will be a huge driver of the agency’s success.
Monina will now serve as Creative Director, leading the design and content teams on brand strategies, identities, and campaigns. She has proven to be tenacious and nimble, two qualities which will serve her well in this new role. She pushes creative boundaries and will ensure teams are producing innovative deliverables for our clients. Alongside Connie, Mike, and Charlene, Monina will also be instrumental in guiding the next generation of talent at TWIST.
Stefanie has been promoted to Vice President of Operations. As one of its longest-tenured team members, Stefanie has been a cornerstone of the agency’s operations. She brings significant management knowledge and experience to TWIST, overseeing the entire agency’s internal functions. She connects creativity to the bottom line for the agency and its clients. Her adaptability, resiliency, and business savvy served as a foundation that supported TWIST through a global pandemic.
“Andrea, Monina, and Stefanie embody our core values. The industry landscape is changing, but the promotion of these leaders ensures continuity of our agency’s culture. Together, they will build and foster the relationships needed to drive long-term growth for TWIST and our clients.”
The flag’s “identity guidelines” are found in Chapter One of the U.S. Code:
“The flag of the United States shall have thirteen horizontal stripes, alternate red and white, and a union consisting of white stars on a field of blue.”
The American flag is having an identity guidelines crisis as cause-connected flags become emblems of a divided nation.
For centuries, the American flag has maintained a consistent and trusted image. That’s because, like most lasting establishments, this country follows a visual identity that was created even before the Constitution was written.
The flag’s “identity guidelines” are found in Chapter One of the U.S. Code: “The flag of the United States shall have thirteen horizontal stripes, alternate red and white, and a union consisting of white stars on a field of blue.”
Red, white, and blue identify the American people as a patriotic country. Its imagery is frequently used in songs, ice-cream flavors, and on our boxer shorts. In recent years, however, Americans have started to deviate from the flag’s guidelines and dilute its image with independently created versions.
TWIST has built dozens of identity guidelines, from typeface to logo. Identity guidelines are the rules that govern a design’s “visual language,” as TWIST Design Manager Rachel Teuscher says.
“It’s how to manage the visuals of brand,” says TWIST Designer Thiago Wimberly. “Not only color, but typography, photography, illustration and other graphic elements.”
According to Chief Creative Officer Connie Ozan, guidelines are important because they put everyone “on the same playing field.” She says any designer should be able to follow this guidebook and create an appropriate design.
The success of an identity relies on visual consistency to create a brand that’s recognizable without its name. Take for example, McDonald’s. When you see golden arches in the distance, you know there is a heavenly Quarter Pounder with Cheese a few turns away. It’s ingrained in our brains. Why? Because the McDonald’s visual identity has remained constant.
“If you want your company to do well, people need to know about it. For them to know about it, you need to be consistent,” Rachel says.
Imagine if the arches were green. You might be able to look beyond the color and still crave that six-piece chicken nuggets. More likely, however, you’d find yourself confused, thinking McDonald’s was starting a new chain of stores offering plant-based burgers.
Much like the iconic golden arches, the American flag is recognizable from miles away. When it is altered outside of its guidelines, it’s no longer clear what that flag represents. The flag that once inspired many now elicits very different emotions because of what Rachel calls “sub-brands.”
“It’s supposed to symbolize freedom,” she hesitates, “but I don’t think it represents that to everyone.”
Being from South America, Thiago was unaware of some of the current flag sub-brands we see more commonly. We shared with him images of American flags that support law enforcement, the military, and Black culture — examples of loss in the flag’s identity.
In Brazil, where Thiago is from, the country’s flag is rarely altered. He says that despite changes in the political or cultural landscape, the green, blue, and yellow have remained consistent in its usage — identifying one unified nation.
Connie says variations of the flag are breaking its symbolism and exposing an American divide.
“Without [guidelines] you have a lot of different hands dabbling in it,” says Connie. “It weakens the brand.”
Even in its official “rebrands,” such as the addition of stars for new states, the flag stayed true to its identity guidelines. These changes were meant to be inclusive — to reach the masses and increase consumer reach, so to speak.
Unofficial changes made outside of the guidelines are more exclusive, speaking to only certain psychographics and limiting the amount of people who connect with the brand.
Connie sees the lack of identity rules as an opportunity to put some identity standards into the flag. She says it’s more important now than ever before to reinforce what the flag means to our country.
A trusted brand is one with a consistent message, and just like any brand, our country thrives when unity is a part its identity. It seems obvious, but the American flag should represent all people in the United States. Establishing stricter identity guidelines could help to alleviate the current divide, increasing the people who proudly wave it, wear it, and support it.
Over the summer, I read a thought provoking tweet and was intrigued by the author’s perspective.
Between getting kids back to school and a bit of travel and reflection, I’ve had some time to think about it. Personally, I agree with him.
I believe good design is thoughtful and has a purpose. It can be minimalist or maximalist. It doesn’t really matter. Just be original.
I recently had a great conversation with a friend who moved to New York City in the late 1990s. He owns and runs an agency just like TWIST. I asked what he thought about the evolution of creativity in the city and what has changed in recent years. His answer: “Isolation.”
Even in the Design Capital of the World where creativity is celebrated and creative risks are taken, we are finding the death of aesthetics. We are working alone, becoming more dependent on social channels and screens for ideation.
We live in a “copy and paste” world where everyone — I mean everyone — rips off ideas from Pinterest, Behance, and the like. Sad but true, we have all succumbed to this method of working, myself included.
With this, trends have evolved. The criteria of good design have changed. We all know social media is a blessing and curse! We adore it, are addicted to it, and despise it at the same time.
Don’t get me wrong. I truly love Pinterest and use it as a source for inspiration. However, I pride myself on being a bit old school when it comes to design thinking and process. What does this mean? Design is in the details. It takes time to appreciate the beauty. The details might be subtle, and with everyone moving so fast, there isn’t time to notice.
This leads to the homogenization of design. We are living in an Instagram world. How have we lost the distinct visual experiences that once inspired us? How did this happen?
Original solutions have been on the decline because of:
— A loss of individuality.
— A loss of craftsmanship.
— A loss of “thinking” in creative solutions.
— A loss of taking risks.
Add in clients wanting everything faster and creatives trying too hard to mimic what they see on social channels. There’s also the over saturation of design references on the internet, allowing creatives to pull from established models. Our industry is seeing a rising number of professionals who think they are graphic designers but have little design training; they simply know how to use the software. They have never worked three-dimensionally. They have never looked at a paper sample.
So how do we get back to uniqueness?
— Let’s get people back to working in-person.
— Let’s reconnect as teams.
— Let’s have conversations.
— Let’s listen to each other.
— Let’s have designers collaborate with writers and content teams to bring brand stories to life — words and visuals.
Mature creatives can certainly learn a lot from their younger colleagues — reverse mentoring – which I truly enjoy! I’m always learning more efficient ways of working with technology and new perspectives on global movements. Gaining knowledge and insight from my team has been very positive.
In the same way, less experienced creatives can learn “old school” techniques: sketching, brainstorming, and getting thoughts down on paper. At TWIST, we even “cut and paste” in real life when workshopping a project, creating mood boards on the walls or printing pages of large annual reports. Moving them, taking them down, using tape: it’s fun, collaborative, and creates in-person synergy among teams.
My advice to young creative minds: Spend more time when outside of work away from your screens. Go explore. Inspiration is everywhere. It’s in the music we listen to, different cultural experiences we have, conversations with friends and family, travel, museums, restaurants, and the food we eat, your next-door neighbor, the colors and textures of nature, and all of our day-to-day surroundings.
In my same trip to NYC, I had a conversation with my daughter, a sophomore at Parsons School of Design. After looking at a fashion exhibit at The Met with beautiful, intricate gowns from the past, she said “I wish women still dressed like this.”
“This is your time,” I told her. “You are the new generation of changemakers. Gen Z’s can bring any aesthetic back with a fresh perspective.”
My message to you is the same. Study the past to revitalize the new. Start by drawing inspiration from life. This is where the magic happens.
