Objective

Copper sits at the institutional end of digital assets, custody and infrastructure for firms whose obligation is not to lose things. That is a conservative promise made in a category most people find bewildering.

The document names it rather than dressing it up: “Crypto is the love child of technology & finance. No wonder it's all a little confusing.” Setting the problem as confusion rather than complexity is what lets the brand answer it with clarity instead of authority.

Creative response

Master brand development and a paid-social growth campaign.

• Master brand development. A document taking the brand from the problem statement through to a positioning
• Two concept routes, worked as separate InDesign documents
• A LinkedIn and Twitter follower-growth plan, 14 October 2020
• Eighteen finished social advertisements, twelve Twitter in-stream posts at 1200×675 and six LinkedIn shared images at 1200×627, each built from a live InDesign template rather than resized from one master
• Social cards for editorial posts, including an OECD blog and a Russia piece
• Animation assets. Vector artwork cut for motion: a US map, arrow, phone and graphic set supplied as layered.ai and.eps

The brand document opens on a radial diagram, hundreds of fine lines converging, before it opens on a word. For a custodian, the argument is that everything comes through one point and that point holds.

Then the very next page says the category is confusing. Placing an admission immediately after a statement of scale is a deliberate order: it earns the clarity that follows, which is what an institutional buyer is actually shopping for.

The advertising is built the same way. Two live InDesign templates, one at Twitter's in-stream ratio, one at LinkedIn's, rather than one master cropped twice, so a headline that needs three lines on one platform gets three lines rather than a smaller typeface.

• Master brand development. A document taking the brand from the problem statement through to a positioning
• Two concept routes, worked as separate InDesign documents
• A LinkedIn and Twitter follower-growth plan, 14 October 2020
• Eighteen finished social advertisements, twelve Twitter in-stream posts at 1200×675 and six LinkedIn shared images at 1200×627, each built from a live InDesign template rather than resized from one master
• Social cards for editorial posts, including an OECD blog and a Russia piece
• Animation assets. Vector artwork cut for motion: a US map, arrow, phone and graphic set supplied as layered.ai and.eps

The work