Southeastern Guide Dogs • Pawt II

Southeastern Guide Dogs ‘Meet’ campaign

Meet the 2016-17 campaign for my favorite non-profit.

Meet Mikey ad
Meet Rocket ad

Meet Sunset ad

Creative Director/Copy: D.P. Knudten
Art Director: Harriet Hritz

Agency: C•Suite Communications, Sarasota, Florida

Southeastern Guide Dogs

Southeastern Guide Dogs are more than just “dogs.” Each starts out as a puppy that’s one-part personality, and one-part potential, and 100% heart and hope.

Meet Gibson:

Meet Jackie:

Meet two sweet puppies.
Who are the sweetest puppies ever?
You are. That’s right, you are!

Creative Director/Art: Richard Skiermont
Creative Director/Copy: D.P. Knudten

Agency: C•Suite Communications, Sarasota, Florida

Noir Wars?

Rian Johnson's Brick (2005)
So it’s been announced that the director of the new Disney Star Wars film after J.J. Abrams’s retool will be Rian Johnson. If you’re like me, unable to see anywhere near as many movies as you’d like unless their Netflixed, the name may not ring a bell. But if you truly are like me, I really encourage you to do what I just did: watch Johnson’s 2005 big screen debut Brick.
Why? Because this guy does genre the right way. By knowing it, loving it, and not being afraid to twist it into a tightrope walk between the hilarious and the homage.
Brick is a warm, wet kiss to film noir—set in a high school. Or a high school’s social structure to be more precise. And that makes it a film-loving, thinking HS student’s dream.
Film noir is a beast of a genre. When it’s great, it’s a sublime masterpiece like Maltese Falcon. When it’s not, it’s a crass theme park ride like Sin City. It all comes down to taste, respect, love, and style. Retrained style, not pastiche. It’s about the cake, not the frosting.
Rian’s (I’m using his first name because I dig this dude so much) deft hand is all over every frame. Most of the time is so damn subtle it’s almost subliminal. But then there are the sight gags. They happen so naturally and without telegraphed fanfare that you aren’t sure you were supposed to find what happened funny until you find yourself doing that self-conscious ‘I was the only kid in my high school to laugh at The Fault in Our Stars‘ glottal flip that passes for laughter among the young and nihilistic.
This dude was made for a genre flick like Star Wars. He clearly knows what makes a genre work, great, and fun for jaded modern audiences. I am counting on my bro Ri to do it for Star Wars too.
J.J. Abrams is certain to do a much needed course correction for the beloved franchise (a la Star Trek), but I am predicting (hoping) Johnson will be able to steer it even closer to the key genre element which John Gruber pointed out was a critically important thing in the first three (SW, TESB, ROTJ), and so desperately missing in the second three (whose titles I simply will not cite): camaraderie.
Think these guys:
Rick and Captain Louis. A bromance made in Casablanca.
Best part? I haven’t even gotten to RJ’s next two films The Brothers Bloom (2008) and Looper (2012) yet. As with Brick, he was both writer and director for those two films—just as he is to be for SW Episode VIII. And he’s reportedly doing a treatment for Episode IX, and who knows where that could lead. If you’re a Breaking Bad fan, he’s also the director of the Ozymandias episode (Season 5/Episode 14, which many, including me, consider one of the very best of the series).
Yeah, this one:
Hank was right: he made up his mind ten minutes ago.
If you like Joss Whedon, but wouldn’t mind turning the ‘broad comedy’ dial down just a tad, you’ll love Rian Johnson.
And finally, this quote from RianMan bodes well. Really well:

“My favorite sci-fi always uses its hook to amplify some bigger theme or idea
– some emotional thrust.”

Story first. Style second. I like that.
– D.P. Knudten @ COLLABORATOR creative

Have Keynote. Will travel.

D.P. Knudten, Chief Collaborator, COLLABORATOR creative

People who know me well know I like to talk. Well, not talk so much as provoke. As in ‘say something provocative, then surf the fallout.’ I’ve taken this conversational modus operandi and turned it into four presentations perfect for holiday gift giving—or your next business gathering. Here’s a brief look at each one:


BRANDTASTROPHE™ / How ‘content’ has the power to end your career—and what you can do about it.

The word ‘content’ is much maligned and rarely fully understood by those charged with designing, engineering, and maintaining the social media box it comes in. But it has the power to make, break or headache the most important career out there: YOURS.

BRANDTASTROPHE™ takes a fun, yet serious look at variety of mega-brands massively huge social media fails, and breaks them down to uncover a set of easily implementable rules for anybody with any kind of responsibility for a brand’s social media presence (and that’s all y’all, including those who “don’t do social media.”) If you live in fear of a late-night “it hit the fan online” phone call, this talk is for you.

Presentation length: 45 to 60 minutes (customizable)


NonFiction Branding™

Branding’s a big buzz word in marketing, and everyone who practices it has their own take on it. For some, it’s barely more than the consistent use of logo and color palette. For others, it’s coming up with whatever story the consumer will buy.

For me it’s all about knowing who you are.
So you can be it.

I call it NonFiction Branding™ because that’s exactly what it is. A truthful balance between what you are today and where you want to go, NonFiction Branding™ is based on actual physical documentation that’s scalable, sustainable and ‘everybody on the same page’-able.

This provocative & entertaining presentation makes the case for a new approach to branding and marketing based on a factual foundation carefully formed, not ‘shiny object’ fluff. If you’ve ever asked yourself ‘why in the world are we doing this?’ about any marketing initiative, you’re already in the non-fiction section—and ready for an introduction to NonFiction Branding™.

Presentation length: 45 to 60 minutes (customizable)

Everybody knows what ‘improv’ is right? TV shows like Whose Line is it Anyway have mainstreamed part of what makes this innovative suite of theatrical techniques so compelling.

But did you know that it’s not just about standing around and trying to be funny? And that improv ‘theater games’ can be utilized as business-, creativity- and team-building tools?

Improvisational games and techniques can blast through ‘writer’s block’ barriers, slay internal negativity, and make any team stronger—all without use of burning coals or the rightfully reviled ‘trust fall.’

ImprovImprove™ is a presentation that focuses on five simple improv-based tools that any team can instantly use to improve their creative and collaborative performance. Available as a 45- to 60-minute talk or a 1.5-2 hour workshop, ImprovImprove™ can give any business a full set of creative power tools, and provide a fun, provocative and informative presentation for any group gathering.

Presentation length: 45 to 60 minutes (customizable)
Workshop length 1.5-2 hours (customizable)


The 9 Thumbs of Marketing™

There are marketing rules that have proven themselves to be enduring, unimpeachable and universally applicable. Nine, to be exact. And I can prove it—with pictures.

I’m not talking about ‘outdoor: 7 words or less.’ I’m talking about secret-handshake-only rules of thumb that all decent creatives use to do what they do. And man, they’re pretty dang cool.

This presentation backs up each of the nine rules with fun, intriguing marketing examples from around the world. And each of the rules is sure to provide session attendees with numerous ‘I always thought that!’ and ‘Aha!’ moments as well as a some thoughts to chew on long after the session is over.

Presentation length: 45 to 60 minutes (customizable)

All three presentations are available for immediate booking.
For more information,
contact D.P. Knudten @ 608.469.8453
or fill or email

Know your product. Your real product.

My very first Creative Director (Hi, Brian!) once said to me one of those supposedly insightful but at the time mildly mystifying marketing sayings:

“People don’t go out to buy drills.
They go out…to buy holes.”

After I mentally flipped him off and mumbled ‘Whatevah, old man’ (which was awkward as I was older), I began to chew on it. And have been masticating that cud ever since.

It’s like the saying ‘have your cake and eat it too.’
And just as annoying -> provocative -> profound.

To me, it has come to mean that it doesn’t matter what you’re selling; your product is really whatever the customer came to buy.

Here’s what I mean. Brazil’s CNA ostensibly sells language lessons. But that’s not their real product/service. This is:

Whatever language you want to learn is truly about one thing: human connection.

Congratulations, CNA (and their brilliant agency, FCB Brasil).
You know what your product really is.

– D.P. Knudten

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Be Here Never.

Hey look! I'm a Glasshole!

Ever since I first heard about Google Glass, I’ve been chewing on what it is that disturbs me so about this brave, new technology. There’s something that’s not right about it in my mind, but it has nothing to do with my feelings about the company producing it.

It’s not like I’m unfamiliar with the features and benefits involved. Anyone who’s read William Gibson’s Mona Lisa Overdrive or Neal Stephenson’s Snow Crash can recognize the modus operandi: Plug in, Turn on and Tune out (apologies, Prof. Leary).

I’m not a Luddite. If anything, I tend toward the opposite affliction: early adoption. But interestingly to me, I have absolutely no desire to become a Glasshole.

Google Glass is out for general purchase now (as of last week), and I guess that’s the catalyst for this post. Why? Because “Be Here Now” is in danger of becoming “Be Here Never.”

Apparently LSD is no match for HTTP.

This is also why recreational drugs have never held any appeal to me. Sure, I like a little legally obtained sumpin sumpin at the end of a long day, but a perpetual mask, permanent fog, or constant ‘layer’ between thee and reality is not something I crave. I just would much rather ‘Be Here Now.’

You don’t have to get all mystical or Rastafari to get there either (although here’s the master Alan Watts getting all dubby wid it):

Whether it’s the always online implants of Snow Crash or the ‘hey look at me, I’m a creeper recording everything you say to Google’s servers’ dude who is just…so…disturbing, this is one technological development I’ll just have to pass on. I guess that’s the thing that bothers me so about Google Glass and its next-gen compadres in development: trading mindfulness for mindlessness.

I hope this means that come Kurzweil’s ‘singularity’ I won’t be singularly alone. I have a feeling I won’t be, or even missing those who’ve raptured digitally. Hey—maybe this is just a version of Douglas Adams’s ‘B-Ark’ (which might turn out ok ’cause who uses public telephones anymore.)

– D.P. Knudten

PS: See what binge watching True Detective can do to you? …One pill makes you larger
And one pill makes you small…

Context before Concept.

Like any experienced creative type, I’ve got an unwritten list of rules that I alternately cleave to or break on a daily basis. One that proves surprisingly resilient is “Always understand the context before wasting time on the concept.”

I was reminded of this maxim when I saw this maximum impact creative for the Swedish drug store chain Apotek:

Apotek Hjärtat – Blowing in The Wind from Ourwork on Vimeo.

This is just so damn smart—and so good it makes me sick (my barometer for the quality of work: the more self-loathing I feel for not being involved in the creation of it, the better it is.)

And the worst part is, until the creative team at Perfect Fools talks, it’s impossible to tell if my little rule of thumb sucks or not. Nice work, jäkels.

– D.P. Knudten

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iWhy no iTV?

People been harshing on my bro Apple for not living up to their expectations about an Apple TV that’s not just a black puck that hooks up to a real TV. And they’re claiming Apple’s lost its innovative edge.

Me, I think they’re just doing what they’ve always tried to do: bake the whole cake before serving.

Yes, I know about all the fill in the blank-gates (e.g., Antenna-Gate) and have to admit they are nowhere near perfect in this regard. But they try. Hard.

You don’t need to look far for an example: iPod/iTunes. I don’t separate the two because you can’t (at least in Apple’s cook book.) The one without the other was just a commodity. Together, they’re premium.

And here’s the thing about the missing, mythical iTV:
it lacks the codecrack Jobs hinted about.
And I’m guessing that crack is just about here, and you’ll be able to order it á la carte.

Do you think for one second the technology for an iTV doesn’t exist already? Of course it does. But the thing that needs to be nailed down beyond possibility of reversal is content. As in ‘you pick the channels you want’ apps or whatever. Such apps/channels are right there in front of your face if you’re a current Apple TV owner. I had no idea what Crunchyroll was—until it showed up on my Apple TV menu. Turns out it’s a…wait for it…subscription-based purveyor of animé and Pacific Rim pop-culture.

Come to think of it, there are more and more subscription-based channels out there AND THEY ALL SEEM TO BE SHOWING UP ON MY APPLE TV MENU!

Hmmm. I think I see a pattern here.

The Beatles’ music wasn’t available via iTunes for a long time, ’cause if you’re the Beatles, you don’t need iTunes. But eventually, the terms we’re ironed out (long after iTunes had not only proved it’s viability, but it’s near omnipotence in the music industry.)

Can better-than-broadcast TV-quality content be far behind for Apple TV/iTV? Not if you ask him:
or her:
Piper and Larry reunite under Thompson's watch
or them:

It’s already here. And proving tremendously popular—on iPhone, iPad, and…well, you know.

My personal prognostication: When there’s a critical mass of the very best á al carte content available (I’m talking ’bout you, HBO), there will be an iTV—even if they can’t call it that.

– D.P. Knudten

Gamification clarification.

I had a recent meeting with a client where I did what I too often do: use a relatively obscure term that requires a level of ‘get-it-ness’ that has yet to penetrate the popular consciousness. That term is ‘gamification.’

The easy definition? Take the techniques games use to delight their players, and apply them to non-game entities and actions. Need an example? Try this:

Dyson vacuum really suck. And that's a good thing.

• Use of color and design to elicit visual interest and tactile engagement? Check.
• Monitorable feedback indicating incremental success toward ultimate goal? Check.
• Optimized for replicable pleasure response even after repeated play? Check.
Yup, it’s a game.

I’m talking about vacuuming for Hoover’s sake. Dyson took a mundane, even hated, household chore and recreated it into a game called ‘holy moly, look at the crap I pulled out of my carpet—I wonder have many times I can fill the canister.’ And to some (including me) it’s as addictive as Candy Crush. That’s how my beloved wife gets me to vacuum. Not as often as she’d like (we’re seeing a therapist about this), but still, she knows she can sic me on doing the Dyson and I’m good for a couple of hours (as long as my back-queue of Radiolab podcasts holds out).

Dyson gamified a chore. And became a billionaire in the process.

Gamification is nothing new.
Remember Tom Sawyer? A fence that needed whitewashing?
And how he got others to do if for him?
Call it Twainian gamification.

Said client (referred to above) took mild offense because he perceived ‘gamification’ to be a ‘too fey’ description for what his very serious company was doing. I get that, but come on, if gamification can sell your service/product like Dyson sells vacuums, wouldn’t you just love that?

That’s what I thought. Call it ‘user interface simplification and addictive usage amplification’ if your MBA needs you to. But really, it’s called ‘gamification.’

– D.P. Knudten

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