CHILDREN'S MUSEUM
OF EVANSVILLE
Growing Pains: Guiding a local learning lab into (im)maturity.
PROBLEM
cMoe had strong community equity, but its public-facing marketing no longer reflected the quality, history, or potential of the institution. Housed in the former Evansville Central Library—a century-old Indiana limestone landmark tied to the Evans family—the museum carried real civic weight, yet recent promotional work had become inconsistent, visually dated, and too often built for convenience instead of impact. Social channels showed weak organic traction, routine follower loss, and little evidence that content was cutting through.
At the same time, larger challenges were unfolding. Brand updates were incomplete. Revenue pressure touched admissions, camps, memberships, rentals, retail, and fundraising. Limited internal resources meant one full-time marketer was expected to support multiple business lines while also helping stabilize perception.
The museum did not need louder marketing. It needed sharper thinking, stronger standards, cost discipline, and a system that could perform immediately while a fuller brand direction was still being built.
100 years of history
20 years of equity
>$30K saved
100 years of history
20 years of equity
>$30K saved
SOLUTION
I created an interim brand and content system designed to win now and evolve later. By reducing the identity to its strongest original elements, I worked to preserve the spirit of cMoe while building a sharper platform that could absorb new assets as they were finalized. The visual language blended analytical structure with playful energy—drawing from Mondrian, Bauhaus, early-2000s children’s media, and commercial advertising discipline to create work that felt both familiar and unexpectedly sharp for the local market.
I simultaneously rebuilt promotional execution across paid media, events, photography, video, email, and social content. Campaigns became more intentional, production standards rose, and every piece was expected to serve a purpose rather than add noise. Community-facing series connected cMoe to the city, while stronger sales campaigns pushed registrations, attendance, and fundraising. Paid media performance also reduced acquisition costs and outperformed incumbent advertising vendors.
The result was measurable growth across engagement, views, clicks, and event performance—while helping protect a local landmark, restore clarity to the cMoe brand, and give the institution a more credible public presence during a critical transition.
1.28x
(+27.6%)
HIGHER UNWEIGHTED CTR VS. REGIONAL AD FIRM (MWC) ON SAME PLATFORMS
1.07X
(+7.4%)
HIGHER WEIGHTED CTR VS. REGIONAL AD FIRM (MWC) ON SAME PLATFORMS
10.19X
(+919%)
HIGHER CTR ON META ADS VS. REGIONAL AD FIRM (MWC) DISPLAY ADS
6.25X
(-84%)
CHEAPER CPC VS. REGIONAL AD FIRM ACROSS PLATFORMS
1.28x
(27.6%)
HIGHER UNWEIGHTED CTR VS. REGIONAL AD FIRM (MWC) ON SAME PLATFORMS
1.07X
(7.4%)
HIGHER WEIGHTED CTR VS. REGIONAL AD FIRM (MWC) ON SAME PLATFORMS
10.19X
(919%)
HIGHER CTR ON META ADS VS. REGIONAL AD FIRM (MWC) DISPLAY ADS
6.25X
(84%)
CHEAPER CPC VS. REGIONAL AD FIRM ACROSS PLATFORMS
Connect-the-Dots
Building connection between cMoe, the community, and revenue...
with no final branding.
This campaign was built under pressure—but it was also built with a longer plan in mind.
cMoe needed to immediately promote nine week-long summer camps, but the existing promotional work wasn’t performing, the visual branding was inconsistent, and the full rebrand was still in progress. At the time, the only fixed elements were the circular cMoe logo and the Latino Rumba typeface.
I didn’t have a finished system to work with—so I built an interim one. The goal was to strip everything down to bare essentials: color, shape, and type. Something simple enough to move quickly, clear enough to perform, and controlled enough that I could start layering in the final brand as it was developed—without having to undo what I’d already made. That’s where the structure came in.
I pulled heavily from Mondrian, De Stijl, and modernist abstraction—primary colors, strict geometry, and balance through placement. That gave me a system I could control and scale. It’s analytical thinking: reduce variables, build a structure, make it repeatable. Then I pushed against that with instinct. That mix was intentional.
Those references still resonate across generations—Gen X grandparents, Millennial parents, Gen Z parents, and their kids. A lot of children’s marketing has drifted toward something softer and more generic. I went the other direction: fewer elements, stronger contrast, more control—while still feeling familiar.
The idea of “connecting the dots” also extended beyond graphic design. I used the theme across content series like Where’s Moe Moving? and The Moe-ment It Clicked, working to connect the museum and its characters to the city, local businesses, and community spaces. At the same time, I connected real-life role models and professionals back to the museum experience—showing kids how curiosity, learning, and exhibits can translate into future careers and real opportunities.
The result is a modular “connect-the-dots” system: reduced, flexible, immediately recognizable—and built to perform while the full brand was still taking shape.
Connect-the-Dots
Building connection between cMoe, the community, and revenue...
with no final branding.
This campaign was built under pressure—but it was also built with a longer plan in mind.
cMoe needed to immediately promote nine week-long summer camps, but the existing promotional work wasn’t performing, the visual branding was inconsistent, and the full rebrand was still in progress. At the time, the only fixed elements were the circular cMoe logo and the Latino Rumba typeface.
I didn’t have a finished system to work with—so I built an interim one. The goal was to strip everything down to bare essentials: color, shape, and type. Something simple enough to move quickly, clear enough to perform, and controlled enough that I could start layering in the final brand as it was developed—without having to undo what I’d already made. That’s where the structure came in.
I pulled heavily from Mondrian, De Stijl, and modernist abstraction—primary colors, strict geometry, and balance through placement. That gave me a system I could control and scale. It’s analytical thinking: reduce variables, build a structure, make it repeatable. Then I pushed against that with instinct. That mix was intentional.
Those references still resonate across generations—Gen X grandparents, Millennial parents, Gen Z parents, and their kids. A lot of children’s marketing has drifted toward something softer and more generic. I went the other direction: fewer elements, stronger contrast, more control—while still feeling familiar.
The idea of “connecting the dots” also extended beyond graphic design. I used the theme across content series like Where’s Moe Moving? and The Moe-ment It Clicked, working to connect the museum and its characters to the city, local businesses, and community spaces. At the same time, I connected real-life role models and professionals back to the museum experience—showing kids how curiosity, learning, and exhibits can translate into future careers and real opportunities.
The result is a modular “connect-the-dots” system: reduced, flexible, immediately recognizable—and built to perform while the full brand was still taking shape.
Dotting Social Media
Samples of Connect-the-Dots Meta ads as they appeared on-platform.
Ads in the Wild
Samples of high-performing cMoe ads from various campaigns as they appeared across Meta platforms.
Ads in the Wild
Samples of high-performing cMoe ads from various campaigns as they appeared across Meta platforms.
Way-Late Play-Date
Way-Late Play-Date was one of the first chances I had to show what sharper, in-house execution could do.
I served as the sole promoter, organizer, and host of the event. Through aggressive presale promotion, strategic focus, and hands-on execution, I drove strong attendance, controlled costs, and helped turn an expected loss into a profitable fundraiser that finished 330% better financially than projected prior to my onboarding.
Supporting Meta campaigns also delivered clickthrough rates 2.38x above industry averages while running 84% cheaper than outside agency ads—early proof that stronger creative and accountable in-house strategy could outperform what cMoe had accepted in the past.
Way-Late Play-Date
Way-Late Play-Date was one of the first chances I had to show what sharper, in-house execution could do.
I served as the sole promoter, organizer, and host of the event. Through aggressive presale promotion, strategic focus, and hands-on execution, I drove strong attendance, controlled costs, and helped turn an expected loss into a profitable fundraiser that finished 330% better financially than projected prior to my onboarding.
Supporting Meta campaigns also delivered clickthrough rates 2.38x above industry averages while running 84% cheaper than outside agency ads—early proof that stronger creative and accountable in-house strategy could outperform what cMoe had accepted in the past.
Brand Advancement
Brand Advancement
Managing Mascots. Preserving History.
Playing Nicely with Others.
Moe opinions, Moe problems, and less connection.
Navigating a fumbled rebranding effort, handling executive input, solving unconsidered financial complications,and protecting institutional longevity.
Managing Mascots. Preserving History.
Playing Nicely with Others.
Moe opinions, Moe problems, and less connection. Navigating a fumbled rebranding effort, handling executive input, solving unconsidered financial complications,and protecting institutional longevity.
Moe Opinions, Moe Problems
Navigating a fumbled rebranding effort, handling executive input, solving unconsidered financial complications,
and protecting institutional longevity
Connecting More Dots
Samples of marketing work phasing from interim to final branding.
Connecting More Dots
Samples of marketing work phasing from interim to final branding.
No More Quacking Around
Continually Raising the Standard of cMoe Content
As I began phasing out of the Connect-the-Dots system, I started rebuilding the brand in place.The reality was simple: the content wasn’t working. Engagement was low, organic reach was inconsistent at best, and the overall feed felt like noise. Posts were rushed, photography was often quick, shoulder-height, and poorly lit, and there was frequent deviation from brand direction just to get something out. The result didn’t reflect a strong institution—and people treated it that way.
I pulled it back. Cleaner structure. Fewer elements. Typography that could lead. The photography stayed—but now it had space to work. At the same time, I raised the standard for how content was created. No more convenience-driven decisions. I shot and edited photography with intention—framing, lighting, and color all considered upfront. Scenes were built, not just captured. Each piece was given more attention so it could actually hold its own in a crowded feed.
That carried into video. If we were producing reel-style content, it needed to offer something—visually or conceptually—that made it worth watching. Multiple takes, deliberate composition, and a clear idea behind it. This is where my background in luxury hospitality marketing came in—capturing content in real time, but at a level that still has to outperform competitors, often on a budget.
We also shifted away from purely promotional content. Pieces like Where’s Moe Moving started to prioritize entertainment and engagement first, instead of just pushing information.
As the quality increased, the volume decreased. That was intentional. Content should serve a purpose. Anything produced just to “stay active” adds to the noise—and anything below your organization’s standard actively damages it. This phase wasn’t about doing more. It was about making sure what we did actually mattered.
No More Quacking Around
Continually Raising the Standard of cMoe Content
As I began phasing out of the Connect-the-Dots system, I started rebuilding the brand in place.The reality was simple: the content wasn’t working. Engagement was low, organic reach was inconsistent at best, and the overall feed felt like noise. Posts were rushed, photography was often quick, shoulder-height, and poorly lit, and there was frequent deviation from brand direction just to get something out. The result didn’t reflect a strong institution—and people treated it that way.
I pulled it back. Cleaner structure. Fewer elements. Typography that could lead. The photography stayed—but now it had space to work. At the same time, I raised the standard for how content was created. No more convenience-driven decisions. I shot and edited photography with intention—framing, lighting, and color all considered upfront. Scenes were built, not just captured. Each piece was given more attention so it could actually hold its own in a crowded feed.
That carried into video. If we were producing reel-style content, it needed to offer something—visually or conceptually—that made it worth watching. Multiple takes, deliberate composition, and a clear idea behind it. This is where my background in luxury hospitality marketing came in—capturing content in real time, but at a level that still has to outperform competitors, often on a budget.
We also shifted away from purely promotional content. Pieces like Where’s Moe Moving started to prioritize entertainment and engagement first, instead of just pushing information.
As the quality increased, the volume decreased. That was intentional. Content should serve a purpose. Anything produced just to “stay active” adds to the noise—and anything below your organization’s standard actively damages it. This phase wasn’t about doing more. It was about making sure what we did actually mattered.
Playing with the Press
Samples of live TV news and radio appearances, press releases, and media points/ PR strategy prepared for leadership.
Playing with the Press
Samples of live TV news and radio appearances, press releases, and media points/ PR strategy prepared for leadership.
Connecting Concepts
Samples of conceptual work and further creative direction in other media.
Connecting Concepts
Samples of conceptual work and further creative direction in other media.
