New little animation of my daughter explaining another dream.
Last week I got to have dinner at Gracie’s, my favorite restaurant in Providence, and it was an awakening, as usual. But there was one course that caught me by surprise because the storytelling pulled me to a place I hadn't been to since childhood: home.
Beautiful golden yellow gnocchi were snuggled together in a light brown butter sauce. Floating in the tiny in between spaces were creamy brown chanterelle mushrooms and melted leeks Amongst all those earthy, humble flavors, salty and crispy lardons supplied a meaty decadence, and sauerkraut brought a necessary acid. All of this was slightly hidden beneath a little cloud of raw clover.
Nick and I were sat at a small table that was similar to a corner booth, This little dish was placed between us, next to the small candle that provided a warm glow, but not enough light, which meant we had to lean in closer to see and then eat from the bowl—a lovely intimate experience which leant to the contextualization of this experience.
Beautifully cooked and delicately seasoned gnocchi always makes me feel warm, safe, comforted. But the second strong flavor comes from the fresh clover which fills your senses with the smell of grass. That’s when I realized I was on a farm. I could smell the rich soil, the sweetness of rain. The fat and sleepy pigs were literally on the plate rustling around, trying to sleep in the warm sun. And the sauerkraut, an essential acidic ingredient to balance the dish, quietly went about its duties like the practical farmer, saving the fall harvest in pickling jars that line the cellar walls.
It was everything I love about the mid-west on a plate. It was a photograph of a place and a moment. The details were so masterful that I felt the story I was being told was my own.
Now. How to translate this type of storytelling into design? Or, brand? How do we create connections that feel intimate and personal in 2D? How do we transport the viewer to another place that is both new and familiar?
Photo credit: Ian Baldwin, Unsplash
After spending so much time thinking about human-centered design and consumer-centered marketing, its easy to see the right choices. Its easy to see the difference between a voice that is self-aggrandizing and one of authentic empathy and service. But it’s also easy to see how hard it could be for a marketer to take the leap.
Recently I’ve been listening to friend review the brand rebuild at his company—a company that produces protective gear for athletes. The process has been difficult in that Sales, Marketing, and Product haven’t been able to agree on messaging.
Product wants to focus on visual and technical differentiators: the pads and other impact guards are slimmer and more modern looking than competitor’s. The patented material science behind the product is visually distinctive and more effective against impact.
Sales wants to use broad messaging that will work for all markets, so that they’ll be better positioned to approach buyers from the youth and team sports markets, as well as professional athletes.
And Marketing wants to say it all, but in a slogan-length epic message that is as un forgettable as it is hyperbolic.
And these are completely natural impulses: tell the customer how awesome our product is, how its unique in the market, and how buying it will elevate coolness beyond your wildest aspirations. Tell the customer these things and the costumer will be impressed and convinced to buy.
Or maybe not.
Maybe they’ll be bored by your lecture. Maybe they’ll simply hear that YOU think the product is great. Maybe they’ve already clicked away because, well, the is what everyone says about their own products. And no one had time to sift through the bullshit anymore.
A user-centered brand wouldn’t tell the customer about the product. Because that brand is in service to the customer. That brand would tell the customer that you should be able to rule the world, reach the heights of your athletic potential, without being held back. To get out there and kick some ass without fear. In other words, just do it :).
So, I’m starting by attempting to outline the steps for each category of work. Starting with the most foundational piece:
- Identify Leadership Team (LT) and Key Stakeholders (KS)
- Work with LT and KS to establish definition of core motivation
- Work with LT/KS to establish 3 focus areas or pillars, which turn core motivation in to focused behaviors/actions
- Work with KS including focus-area experts, to determine the methodology practiced that has led to Client achieving expertise, giving Client unique selling proposition
- Work with LT to determine key markets that warrant custom messaging; work with writers/editors to finalize language
- Work with KS to determine which existing products best articulate expertise in a focus area, and create focused descriptions of these projects with highlighted achievements and learnings.
- Identify copy editor resource to review copy holistically before final “going live” stage
A website seemed like the right platform to bring this project to life. A website offers a 'show, don't tell' experience that you couldn't achieve with a deck. The wireframe site will serve as a pitch when working with other teams throughout he process, and eventually become the "living organism" that it describes.
A quick note about the client. This project is being designed for my current employer. This model, which I'm calling Human Centered Branding (HCB), should be applicable to any brand, so it doesn't seem necessary to mention the client directly and risk the confusion that this model would only work well for a specific industry.
This wireframe is the core model for HCB:
The Brand in the center represents culminated content from the 4 modules that surround it. All of the modules are connected, informing and being informed by each other.
The Brand Purpose module is a space that identifies the primary motivation or "soul" of the brand. Within the space, we learn the how that primary motivation has developed into services or products, and then, how the brand is uniquely positioned in its markets. For example, if we were talking about Nike, the primary motivation or soul of the brand might be 'fitness,' and its product 'running shoes.' Its unique position in the market might be 'a superlative commitment to increasing user-performance through innovative design and materials.'
The Brand Experience Module provides key experiences that allow users to come to understand the brand through more engaging and interactive storytelling devices, such as games, interactive videos, and learning sessions. When a user enters this space, they should feel invited to explore. And when they leave, they should have a new emotional understanding--if not connection--with the brand as a humanized organism. This is the device that will help users come to believe in a brand, rather than just buy a brand's product.
Community Input is a space dedicated to aggregating research such as social listening, and actively seeking input through surveys and other tools to acquire user-feedback that can inform the brand. Everyone values customer feedback, and a rand cannot thrive without market support, but how often do brands actually design an infrastructure that puts that feedback directly into an algorithm that incrementally informs/modifies the actual DNA of the brand. This feature, feedback collection resulting in real-time brand refinement, is crucial to the concept. It measures and ensures the authenticity of a brand's relationship with its users.
The Brand Out Tools module gives users a toolkit for what you might call "brand advocacy." This would include the nuts and bolts, like logos, but also more significant assets, like repots and other information that empower the user with knowledge and a sense of expertise within the brand's areas of focus.
So these are the four essential components, and each one carries a hefty load of responsibility, My hope is that the site's creative direction and use of emerging technologies will drive users to explore, connect, and start to feel integrated, and even somewhat accountable for the brand.
After sketching out some wireframes for a website that would bring this idea to life, I was able to get approval to move forward, but while pitching this idea, I realized it was a bigger ask than I thought. The idea, which is to create and implement a brand model that is as much about user input as it is about the brand's presenting values and goals, is exciting, I hope, if you are already a brand nerd, but not necessarily to anyone else. In the worst light, it looks like a project with considerable challenges:
• Large draw on the time of senior-level creatives
• Long-term collaboration with teams across the organization
• The value of a solidified brand identity is difficult to convey to some groups, whose buy-in is essential
• Success relies on input from employees and consumers
• The website will require ongoing monitoring and maintenance, which would require the generation of a new governance structure
• The result may not deliver on it's promise
• And (worst of all) there's no direct relationship between brand awareness work and revenue
I'm not deterred. Perhaps this is a naive optimism, but I believe we can achieve a better relationship between users and brands with radical honesty. An honesty that allows the brand and its users to change in real-time based on new information.
There seems to be a simple truth at the core of what should make this work. Every brand is influenced and affected by the people who work behind it and the markets who support it. But as marketers, we let brand act as a veil between these two groups and that veil almost always includes an inauthentic posturing. What do we have to hide? And who do we think we're fooling?
Tomorrow, I'l get into the structure for the site, or at least post images of the wireframe sketches and hopefully a planning calendar for the initial construction of a test site. Full expecting to practice a rapid prototyping approach to all off this. Inspired by something one of the Kelley brothers said, 'what might we accomplish in just one day?'
I created this for a client who wanted an animated map to illustrate his complicated journey on the Appalachian Trail. Enjoyed creating map as always but the challenge was to make it simple enough to be consumed passively given that the speaker could be talking while the animation plays.
Another little creature joins the cast for a larger animation project.
Designing this website for a client (local farm) who is ready to jump forward with their design strategy. Their current site is text heavy but they have an amazing cache of farm photos that I wanted to bring forward. This site is going to look great on mobile and I'm very excited about the whole thing. They have a lot going on between farming, running a successful farm stand, operating a kitchen that makes prepared foods, and a budding floral design business (forgive the awesome pun). So I want this design to let viewers know right away that this farm, located in a sleepy up-scale area, is alive and buzzing with activity and might have more to offer than poeple realize. It's always great when a client has this kind of energy to do the work it takes to get the word out and develop a solid, consistent brand design and messaging strategy.
Here's another one about the fragile structure of personality for the Identity series.
Another one of these little quick animations for the Identity series. This one's about feeling most alive when working.
Now that I feel like I have my footing in After Effects, I want to create a little design series that communicates ideas about identity. I'm attracted to ideas about the impermanence and transitory nature of personality and our beliefs, however misguided or helpful, that it is possible to know others, be know, and be understood. All of these things seem personal and mysterious (and sometimes deeply confusing) to me, so I'm looking forward to translating some of these thoughts to design because visual metaphor will be better than words in this case. Visual metaphors after all, have space in and around them that the viewers can fill up with their own nuanced reactions, memories, details, etc. I guess I can think of writing that works this way too. Maybe I just like Art better :).
I learned a great method for rigging mouths for lip sync animation and applied it to this audio track I had of my 4-year-old recounting one of her crazy dreams :). I think it worked out pretty well, although next time I'll probably make more than the 7 mouth positions I used here (to include some softer/lazier mouth positions like "nuh" and "uh"). This only took a couple of hours to animate, once the illustration were complete. Roughest part was the render, which took over an hour.
I learned a lot--especially regarding my CPU limits--with this one. Drew the astronaut in Draw and imported but all other elements were created in AE. The stars are a simple effect but the colors are blobs with displaced turbulence. All in all, there were about layers that each had at least one effect that included an evolving element. The duration is just a few frames over 4 seconds, the frame rate is low (20) and the size is only 750 pixels wide. Still, my computer could not render this file with crashing After Effects. In the end I had to reduce/delete many effects and tweak the export settings. The resulting render turned to be less than ten megs, which leads me to believe that all of those vector calculations are difficult for the processor for a brief moment and then the rest of the render must be very light work.
I love the way the outer space effects came out and want to do more of these on their own (no character). So next time, I'll probably have to consider knitting elements to gather in Photoshop and/or test-rendering as I add each effect to know when the compass reaching its limit.
It's finally done! After two months of working on this in every bit of free time I have, this little walk cycle animation is finished. This started as a tiny little project for me to learn how to make a proper walk cycle and ended up as a 35 second journey through a complicated landscape. And while I need to disclose my understanding that I'm still terrible, I am kinda proud of this!
The illustration was done in Illustrator and imported as a massive layered file, which knowing what I know now, should have been broken into many little pre-comps. And what I really like about this project in the end is the art direction. I'm really happy with the palette and all of the texture.
By making this animation I learned a lot more about rigging, how to make a simple walk cycle, and a ton of effects and tricks for more polished looking movement. Some of the biggest takeaways were learning how to better use the graph editor and control pre-comps with null objects. Can't wait to do it again and do it right.
Finally starting to play with some of the effects that AE can generate for you. Drew this one on my iPad, so the whole thing only took about and hour to create.
I am also being featured on Ello's Gif page now. So thats pretty cool!
Entirely generated in After Effects so everything is vector; I can have this rather long animation save down to just 2-3 megs. Learned some new tricks for generating the complex patterns in the wings which will surely dominate the next piece I make. Just need to better understand what their ideal use would be. I'm thinking passageways to the future or a tunnel around a black hole (?).
It goes without saying that I'm not 100% satisfied with this, but I am starting to feel more competent in After Effects, so much so that when I have an idea, I almost immediately understand how to approach/execute (or so I think).
Hours to draw. Minutes to animate. And I found a new PSD tool for better optimization which is great because some platforms are really tricky about loading "bigger" gifs (Tumblr).
Perfect for naughty children :). Just playing with masks.
This little animation looks pretty simple, but it was massively informative to create. When trying to character rig the body, I learned the hard way that Duik will only allow for three bones per IK. After working around that issue, I realized that I could have built this whole character out of sine waves, which would have resulted in a smoother, more elegant design, especially with regard to the underlying code. I'll likely rebuild this rig the "right" way, including the animation of her hair, for a later practice. For now, I just want to let her ride for awhile.
On the up-side, this is the smallest animation I've made. It's just over 2 seconds and the initial render was only 4 megs. (By contrast, the walk cycle animation I've been working one for weeks, renders the 10-second clip at almost 2 gigs).