It sometimes feels like magic. All of our favorite sports teams — college, pro, US, international — produce and post incredible content every day. There are graphics and GIFs, videos and memes, and they all activate the brand, convey information, and oftentimes tell a story.
But it’s not magic spells that conjure all this creative, it’s teams of producers and designers that execute a strategy, serve a purpose, represent the brand, and aim to keep up with the insatiable demand of teams and fans. It’s a lot for even the most seasoned creatives to take on, who must balance that volume with their artistic desires and the purpose of each piece. Oh, and at best, they may earn a second or two of fans’ time. Kennon Pearson, who works in Duke Athletics, talked about what’s in mind for him and his team as they begin a new piece.
“Even though we have our baseline look, a lot of times there still is creative freedom. [So] it’s like, what do I want to do with this? Or what’s the focal point?” said Pearson, who is Assistant Director of Creative Services and Graphic Design for the Blue Devils [Duke Athletics’s name]. “Like with records or number of wins, usually we like to highlight the number in big [font], and then it’ ‘Alright, do we have cutouts for this? Do we want them to be smaller? Do we want them to cover it up? Do we want them to be inside of it?’…
“Usually when we’re creating, we look at the two things we start with — is there a focal point text or person, and then how do we want to color it?…“My philosophy is always whatever that focal point is, it needs to be pronounced enough to where [users] don’t get banner blindness and they just keep scrolling. They see a number, they see a word, they see a person and they’re like, oh, who is this? What is this? And they stop.”
Stopping the scroll is the challenge, and beautiful pieces like those Pearson and his colleagues produce are the solution. But while they want to indeed exercise that creative freedom, they are still all creating for the same team, so to speak, the same brand — Duke Athletics. So it now becomes cutting through the clutter that fans see fill their feeds every day, creating something that stands out, but that still looks like Duke. But Pearson takes that responsibility seriously, especially for the special occasions he enumerated like milestones and historic achievements. Those moments, and the creative marking them, shouldn’t look like everything else, and it’s worth the extra effort to make something unique within the Duke palette.
“It’s really just artistic interpretation where we’re making something unique for every single [moment],” said Pearson, who noted that the football and men’s and women’s basketball teams have dedicated creative staff. “And that can sound like a lot — it is if you think about it — but we’ve gotten so used to doing it, that it’s just kinda like we want those pieces to stand out because I think that no matter what, they’ll still look, and feel like a Duke piece and they’ll always try to keep it to looking like it is part of that team. You don’t want it to look exactly like the last landmark that another team did.”
Here’s where it’s instructive to get a peek behind the magician’s curtain. There is at least something of a method to the madness, tips for the trade that help to scale creative by controlling (and streamlining) the controllables. Creative teams have to seek out any efficiencies they can because producing graphics and videos and art requires time built-in for, well, the creative part. It was informative and interesting to hear Pearson talk about how he manages the creative production process.
“One thing for example is we use a lot of the same sizes,” said Pearson, “something that’s a 4×5, 16×9 — so I have a folder on our Box [cloud storage]…where I have a 4×5 PSD, a 16×9 PSD. Or if it’s something where I know I need to use multiple artboards, I’ve got that set up, so that way I’m not having to open it up, add a color and add guides every single time; it’s already set up…
“Currently I’ve been using my own library where I have logos saved, any common textures that I use for all sports or even for some sports — colors, because we do have different blues…“But basically everything is starred. I have templates saved, I have folders in Box that have textures I might need. So everything is accessible as quickly as possible.”
Even the most streamlined operation does not mean creative teams become factories, content for the sake of content. There is no quenching the thirst of fans for quality content, but the asks add up and time and resources are never endless. Every digital, social, and marketing team must be inclined to ask why. Why do we need to post this, create this, ask for this, to dedicate some of those scarce time and resources for this?
“In general, everything we design…we try to make sure that it has a purpose and we have an outcome we wanna reach instead of just making it for the sake of making it,” said Pearson…It would be cool to do some more fun stuff like [memes], but I think that in general, we try to make everything as purposeful as possible, and it works really well for us.”
There is a temptation nowadays to measure everything in raw numbers. When the success of a given social media operation, for example, is judged in its end-of-season report by impressions, engagements, views, and engagement rate, it seems perfectly sensible to say each piece of creative should be judged the same way. There can be value in that. But it may be missing the forest for the trees.
Pearson noted that, yes, analytics are important. They do tell part of the story as to how much the creative resonated with fans and followers. But Pearson does see the forest, too, talking about impact and value that goes beyond double-taps and hearts. When the creative team is charged with producing vast volumes of content that most fans will see for a split-second as they scroll or tap through their feeds, it comes down to making those moments matter and setting up the operation for scale.
“It becomes kind of a gut feeling,” said Pearson, mulling over the notion of success of creative. “Like, when we’re putting something together [we ask] what is going to be impactful? And if even just a few people like it and see it, that’s still successful. Of course, you want it to be big numbers and huge shares; you want your analytics to be insane. Sometimes it doesn’t happen, but that doesn’t mean that something was a failure.
“I think that a lot of times what you might consider a failure is is it something that we created, like a template, that didn’t get used or used enough or didn’t make sense? I think that’s probably more I would say is a success is — is it something that we made that is used frequently if it’s a template? Or if it’s not a template, is it something that caught somebody’s eye?”
The bar is only getting higher for content to stand out and to have impact. There is more competition for attention, ever-more ephemeral trends and aesthetics, and a rising demand for creative (because we’ve gotten better at extracting revenue from creative efforts, too). The creative teams of the future will be even more efficient, removing any friction in the production process so that they can focus on what they do best — create.