Isaacs & Isaacs was founded in 1993 by Sheldon and Darryl Isaacs and has grown into one of the most recognizable personal injury firms in the region, largely on the strength of Darryl's aggressive, high-production approach to marketing. Despite the success of the brand, the firm was lacking the internal infrastructure to support it.

Prior to my tenure, the firm had no in-house graphic designer. Creative was produced in Canva or outsourced, with predictable results: inconsistent quality, slow turnaround, and no single standard governing how the brand was applied.

I quickly began producing nearly all creative in-house for the duration of my time there. This improved both the speed and consistency of what went out the door. As my understanding of the organization deepened, I began formalizing what had been evolving in practice. In August 2025, the Marketing team convened to develop the firm's first comprehensive brand style guide, which I authored. The guide established standards for logo usage, color, typography, photography, voice, and channel-specific application, and became the reference point for every brand decision that followed.

From that point forward, all public-facing materials went through me as the quality control checkpoint before deployment. Across a multi-state firm with significant marketing volume and multiple leadership transitions during my tenure, that standard of consistency required active, ongoing ownership.

Out-of-home is central to how personal injury law firms maintain market presence. I designed 22 static billboards and 14 digital billboard compositions, with my work posted across 600+ locations throughout Kentucky and Indiana.

Static board topics spanned the range of the firm's practice areas: big truck wrecks, delivery truck accidents, car wrecks, wrongful death, and general branding.

We used digital billboards to advertise time-sensitive and secondary focuses, including burn injuries, weather-related crashes, and Hammer Hub vouchers.

When I joined the Marketing team, my primary contribution to digital advertising was static creative production. Over time, and particularly toward the end of my tenure, I began working alongside Anna, the VP of Marketing, on Meta campaign structure and strategy. I took increasing initiative on creative development, copy, and ad set builds as my working knowledge of the platform deepened.

The campaigns we were working to improve had a structural problem: ad sets were bloated and competing against each other, creative formats and case types were mixed in ways that limited the algorithm's ability to optimize, and there was no coherent reach and retargeting architecture. Restructuring those campaigns reduced the cost per acquired case by more than 80%.

Paid digital strategy remained under Anna's oversight, and an external agency handled the broader management layer. My contributions remained on the content side, providing evergreen creative for Google Programmatic Native Display and Performance Max (PMax) campaigns.

In addition, I managed the firm's directory and local search presence across Google Business Profiles, Google Local Service Ads, Bing Places, and Apple Business Connect, keeping listings accurate and optimized across all markets.

I co-produced the firm's two annual community events: Hammer's Lou Adopts and Hammer's Great Backpack Giveaway. My role across both covered creative direction, promotional materials, vendor and performer coordination, staging input, and day-of execution.

Hammer's Lou Adopts is a single-day mega adoption event produced in partnership with the Kentucky Humane Society, which manages the adoption infrastructure. In the lead-up, I handled the event's creative needs and social media promotion, posting original content twice daily. On-site, I provided photo and video coverage and supported the firm's presence, including branded merchandise distribution and an event-branded photo booth with Darryl. 2025 was the most successful year to date: 160 dogs found homes in a single day.

Hammer's Great Backpack Giveaway presented a different kind of challenge. Relocating from a west-end elementary school to Lynn Family Stadium meant rethinking logistics, rebuilding the promotional strategy, and accepting some uncertainty about what the new venue would draw. It drew more than anyone expected. Families were lined up through the parking lot before the gates opened, and all 3,000 backpacks were distributed within the first hour. The day extended well beyond the giveaway itself: a DJ, inflatables, carnival games with prizes, a photo booth with Darryl, and tickets to that evening's LouCity soccer game made it the kind of event people stayed for. It was the largest crowd the program had ever seen, and it set a new baseline for every year that follows.

Hammer Hub is Isaacs & Isaacs' app-based program distributing free $20 Uber vouchers during major drinking holidays, with a straightforward goal: keep Kentucky, Indiana, and Ohio roads safer by giving people a reason not to drive drunk. I managed the program's backend across the Hammer Hub app, Uber voucher administration, and Twilio, and produced all campaign creative. Promotion ran across press releases, digital out-of-home, radio, and broadcast TV. I monitored live campaigns closely, including outside of business hours, because a voucher program that misfires in real time loses credibility fast. By the end of my tenure I had taken on the full scope of program promotion, including writing press releases, coordinating with the firm's video producer on commercial updates, and getting Darryl into iHeart Radio's studio to record spots for the Christmas and New Year's campaigns.

Average spend per campaign grew from $388 in 2024 to $3,408 in 2025, nearly a 780% increase, driven entirely by a stronger program, broader reach, and a community that had come to count on it.

I developed and managed the organic social strategy for Facebook and Instagram, built around two consistent priorities: education and conversion. The majority of content drove traffic back to WeWin.com, drawing on the site's existing resources including blog posts, the Ask the Hammer podcast, Legal FAQs, and the Glossary of Legal Terms to create a steady cadence of useful, accessible posts with direct calls to action. Special announcements, awards, and promotions rounded out the content mix. Everything was planned and scheduled through Buffer.

New commercial and video content was uploaded to YouTube on a regular basis as it was produced.

Toward the end of my tenure, LinkedIn had become a growing focus. We were in the early stages of developing a more intentional strategy for the platform, oriented around Darryl's speaking engagements, firm news, and recruitment, positioning the channel for a different audience than Facebook and Instagram were reaching.