Hampton Jones were changing their brand positioning from a Multi-Displinary Property Consultancy to a Building Specialist firm. They needed a bold, confident brand identity to signify this change and help them be seen as the company they had matured into after 10 years in the industry. During the Hampton Jones rebrand I worked as part of the creative team at Principals Branding Ltd. Once this was chosen as the final concept, I worked under Principals Creative Director to bring this concept to life through the implementation phase. This meant setting up rules and systems around the visual identity, creating brand collateral and presenting this new brand to staff.
Creative Director: Gideon Keith
Designer: Anna-Rae Morris
PBS, (Public Broadcasting Service) is America’s largest public media provider. As a nonprofit multi-platform media organization, PBS has over 350 local member stations nationwide, with 198 million people each year engaging with the brand.
Challenge: PBS needed to evolve and strengthen the relationship they have with consumers along their entire journey with the brand. PBS needed an agency to define and build a digital tool to be used internally to share research around consumer insights. They needed to understand the audience, measure their behavior and be able to share this information with key stakeholders throughout the organization in a compelling and engaging manner.
Process: We spoke to PBS employees, PBS local station employees and PBS viewers to gain a deeper understanding of their behavior and what was missing for them in terms of engagement with the brand. We also analyzed previous research, brand health checks and other studies PBS had previously commissioned. Examining our findings, we found patterns in behavior and were able to come up with a solution to create a sense of community engagement for the PBS network.
Insights: Both PBS viewers and PBS local stations feel isolated and not part of a community
The traditional goal for PBS is to develop casual viewers, into advocates who then become donors. Our recommendation was to place as much importance on both advocates and donors. Shifting the focus onto developing viewers into advocates, rather than focus on the donations. Advocacy can come in the form of promoting PBS or donating funds.
We created a best-in-class digital tool that could be used by PBS teams, PBS local stations as well as PBS viewers nationwide.
The tool would have customized dashboards for all users. When a PBS staff member logs in all the information from studies such as the brand health check has been modified and all crucial information is displayed here through case studies, visual analytics and other tools such as ask questions within the network to create a dialog.
In addition to brand health, PBS teams can plug into real time analytics that is constantly being updated through the viewer platform. Viewers create their own log in profile, the information they enter in the profile allows PBS to have real time data they can use to track engagement, viewership. PBS donor badges, conversation around tv shows to create community
Crane & Co is a luxury stationery company that has spent over two centuries crafting personalized, high quality products. They came to the SVA Masters in Branding studio seeking help to reposition their brand that was facing challenges in a dramatically declining industry.
Challenge: Today, Crane lives in an increasingly interconnected world enabled by digital correspondence and fast communication, somewhere in this web, the customer has lost its emotional connection with Crane. We needed to tap into the value of the physical experience the brand offers in a new way, for a new customer. We needed to reinvigorate and modernize the brand and its offering to find a place within modern habits of communication.
Process: Our process was in-depth, walking the client through each phase of audits, insights to opportunities, and finally showing how these opportunities came to life for the brand. Our research included detailed cultural analysis on broader themes of communication and etiquette. This was then distilled and our insights applied to what this meant for Crane as a brand, and how they could better understand and connect with their modern customer.
Insights: There is no longer one right way to act or express yourself and people want products that reflect their individuality.
Welcoming people into the creative process ensures their personality is included in the final product.
People want to feel that every part of the card they send is a reflection of who they are— not just the words inside.
Outcome: While leveraging Crane's reputation for high quality, elegant, and customizable stationery we identified opportunities and proposed experiences, products, and partnerships that would make a tangible business impact quickly. These were in the form of mixed box sets, a new product line named 'Crane Creations', subscription sets and a partnership.
Client: Crane & Co.
Team: Anna-Rae Morris, Anu Khosla, Corin Camenisch, Ryan Hausberger
Advisors: Elizabeth Talerman, Gena Cuba
Role: Research, Strategy, Lead Designer
Johnson and Johnson had undertaken both qualitative and quantitative research studies for numerous brands under their skincare portfolio over the past two years. The project brief was to link together all relevant pieces of face research into one strategy workshop with a cross functional team.
Challenge: To inspire and immerse the diverse teams about their consumer and their shopping behavior. The workshop needed to re ground the team in the relevant top findings in a way that inspired action. Resulting in a collaborative session to develop meaningful strategic and tactical recommendations to influence consumer and shopper plans.
Process: To get the teams in the mindset of the target and to understand her needs the workshop flow was designed into break out sessions and an interactive path to purchase journey. Along the journey the teams were assigned a consumer segment and a shopping mission, taking part in interactive activities along the way to understand the mindset of the target.
My role: As the Lead Designer on this project it was a design exercise to translate heavy qual and quant data into a visually appealing and stimulating immersive experience. Understanding what aspects of the research needed to be emphasized and designing interactive activities to deepen the understanding was key.
Outcome: To this day the JNJ teams in both LA and New Jersey have the Path to purchase installation set up in their offices and commissioned an extended designed exhibition of separate research studies.
Challenge: The United Nations had been running the program Responsibility to Protect for 10 years. This program is based on protecting citizens of the world against war crimes, genocide and crimes against humanity. Any work that the program undertook was not represented visually, they lacked awareness and had no obvious link back to the United Nations.
Process: As the United Nations is one of the most recognisable organisations in the world it was obvious that the main equities needed to stay and be reimagined for this program. The colour blue, the wreath and the circular shape were what the United Nations was known for. These elements were repurposed to fit the themes of community and protection of which the program is built on. The small leaves come together to form a community and a protective barrier while resembling the wreath, a sign universally known for peace.
Outcome: This visual identity was chosen by the United Nations to be used for all material for the Responsibility to Protect program starting July 2016. The visual identity fits cohesively into the brand architecture for the United Nations while allowing this program to have its own identity and gain awareness.
The Flamingo research team undertook a global project to understand an emerging North Face consumer. Understanding the values, needs and perceptions of leading-edge Urban Explorer consumers was the foundation for defining a global strategy. This strategy needed to be spread across senior stakeholders and internal teams in an inspiring and compelling format.
Challenge: To collate and condense the findings, strategy and way forward in a compelling and inspiring format for internal teams and stakeholders to align and activate this new direction.
Process: The output needed to be recognizable as part of TNF brand while representing this emerging consumer and new visual direction. Translating written strategy and consumer profiles into a visual language that could guide the new direction for the brand was vital in creating a long lasting output. Translating written strategy into design guidelines and setting up aesthetic guardrails with the Creative Director of TNF.
Outcome: I created a magazine highlighting the research and defining the visual aesthetic of what Urban Exploration looks like for TNF. It was distributed across senior management and internal teams to inspire and activate this new direction. This magazine included a pull out poster that allowed internal teams to have the key takeaways on their desk or wall space. The magazine is now in its second print run and is to be shared to wider teams worldwide.
Mountain Dew owns huge cache within the gaming community. Won through a successful combination of partnerships, promotions, and the limited-time ‘Game Fuel’ offering. Building off the Game Fuel proposition, Mtn Dew is looking to build a stand alone platform that directly targets the gaming community -- the ‘Gatorade of gamers’
To deliver as a permanent part of the line up, a new proposition must feel distinct from core Mtn Dew and offer unique functional and emotional benefits. Research was needed to:
1. Understand gamers’ attitudes/consumption behaviors
2. Identify the potential for Game Fuel within this context
3. Inform product development & packaging briefs
To meet these objectives, we combined ideation and research in a two-day, innovation workshop.
We held a Influencer Collaborative Session to understand gaming needstates & beverage selection, leading into co-creative ideation sessions where we were able to identify key spaces for Game Fuel.
These concepts were developed and then validated by consumer discussion groups to test resonance/relevance of concepts.
We captured key insights & ideas from each phase of the workshop and were able to recommend most promising product concepts and provide clear guidelines & guardrails for product and packaging briefs
The purpose of this project was to reposition Carefree as a leader in the intimate care and grooming market.
By changing the paradigms of the liner category from being
a problem solution category to being a desirable everyday grooming category AND growing Carefree beyond liners into a beloved intimate care brand.
Challenge: To translate research, insights and strategic brand presentations into visual mood-boards, directions and packaging concepts for Carefree.
Process: Studying the visual landscape and semiotics of the category, I was able to create various visual territories where Carefree could play. Creating mood boards, visual references and descriptions for each concept was the platform for designing packaging directions.
A body wash brand within the Unilever family wanted to understand what womanhood means today, how it has changed, and where it is moving in the future. To better understand their consumer, their lifestyle and how to connect with her.
Challenge: To utilize a large workshop space, design the flow of the exhibition, curate the content and bring to life insights in compelling and inspiring ways.
Translating strategic insights into designed outcomes. Allowing insights such as 'multi-layered' come to life through transparent materials and mobile installations.
Outcome: An exhibition style workshop for key stakeholders to socialize big ideas, immerse themselves in key findings and the world of the consumer. Her values, her manifesto and even how she uses the 'shower moment' were brought to life.
An immersive 'shower moment' installation where stakeholders could find themselves listening to consumer interviews, reading insights all while smelling and feeling the experience their consumer has everyday.
Creative Direction: Gideon Keith, Principals Brand Ltd.
Designer: Anna-Rae Morris
Hampton Jones re brand concept. Hampton Jones were changing their market positioning and strategy from a multi-disciplinary property consultancy to a building specialist firm. The rebrand meant the company needed to embrace the new brand personality - confident, bold yet approachable.
This identity system was based on the various stages of the building process, and how each service Hampton Jones offers fits into these stages. Each service fits into the building process and the building life cycle was embodied by the cube symbol. This flexible system allowed each service line to be unique while remaining under the bold, strong visual of Hampton Jones.
See * for full project.
Green is the new black* was an installation that acted as a reminder that sustainable practise is the new trend to embrace for designers. It acted as a platform for discussion and raised awareness of the issue with AUT design students.
Projection is the new pin up* was an installation created to show students there are alternatives to printing and pinning up their work for class critiques. Using the projectors to display work would mean less paper wasted each week.
Recycled paper is the new munken* was an installation created out of waste paper collected from the AUT computer labs. It was placed in the computer lab above the printer to show students how much they are wasting. It encourages students to use recycled paper rather than trendy stocks (such as munken) that could be damaging to the environment.
These three installations all pointed to a website and a handbook where students could learn about what these meant and how they could integrate sustainability into their design practise. See * for more project details.
100 Days Project
100 thoughts of two recent graduates, finding their place in 'the real world', job struggles and figuring out what the hell they are doing with their lives.
Each day we individually designed a type treatment for one thought relating to our lives as recent grads then merged them side by side to compare the differences and similarities on our journey.
After completing the 100 Days Project 'Now What?!' was shown as part of the 100 Days Exhibition in Auckland.
View full 100 days here:
Design Assembly is a community of New Zealand visual designers in graphic, web, moving image and interactive design who share ideas, information and inspiration through events, workshops and website interaction.
Design Assembly collaborated with Geyser to create one of 10 installations for Urbis Design Day, 23 March 2013. I worked as a Graphic Designer with a team of talented design professionals to bring this installation to life.
Disruption explores the subtle disruptions that can occur within a strictly all white environment. The composition draws inspiration from 16th century dutch 'vanitas' style of still life painting. 'Vanitas' paintings explore the meaninglessness of life and unavoidable certainty of death through symbolic objects. Essentially they depict time, our lack of it on earth and how it can be taken away at any moment. Disruption strips all objects of any further meaning by removing all colour and creating a monotone arrangement. It aims to push the 'vanitas' futile concept of time by exploring and diminishing a scene allowing disturbances to occur within what appears to be a formal arrangement. A narrative of sorts Disruption allows the objects to inform the narrative of the work.
*This project aims to inspire and inform design students about sustainability and how to integrate it into their practise through a handbook and typographic installations. By breaking down misconceptions and demonstrating alternative methods I hoped to showcase a new aesthetic to sustainable design. Visually my project was linked into a cohesive body of work by the asterix symbol. I did not want to restrict my project to conform to one name or one topic. My project is based on the idea of sustainable design. However it also touches on student behaviour, routines and questions the role of design in society. By using this symbol I was able to visually link each output while remaining somewhat mysterious. It was that air of mystery that prompted students to ask questions, read my statements and become involved in my project.
These typographic installations were placed around the AUT Design building and prompted discussion from students passing by. They created hype that was utilized to promote the student handbook.
*Green is the new black acted as a reminder that sustainable practise is the new trend to embrace.
*Projection is the new pin up was created to show students there are alternatives to printing and pinning up their work in class critiques. Using projectors to display work would mean less paper wasted each week.
*Recycled paper is the new munken was an installation created from waste paper collected from the AUT design computer labs. It was placed in the computer room above the printer to show students how much they are wasting. It encouraged students to recycle and use recycled paper rather than trendy stocks that could be damaging to the environment.
*All three installations pointed to a website and a handbook where students could learn more.
'Fat Boy Slim' was designed as a mono space typeface inspired by bold block letter forms.
The type specimen book for Fat Boy Slim was inspired by the concept of building blocks and printed on a risograph.