CES 2019: Whirlpool Booth Activation

The exterior of the Whirlpool Booth at CES 2019.

At Digitas, the project with the most scope and best creative was Whirlpool's booth at CES. It never stops, year to year, week to week. When 2018 CES ends, 2019 begins.

Because of the scale, we truly got to be specialists in our areas of expertise. Print production and creative decked the walls, experiential built the booth, and together UX and creative delivered compelling consumer digital experiences.

Kitchenaid Kiosk

Interactive wall that responds to touch.

User Flow

Wires

The screensaver, if you will, utilizes the print campaign pnemonic with headline, product hero and tag.

Once tapped, abstract shapes move organically to reveal the content tiles.

The user can tap text content blocks or visual ones to learn how to make cream or how to perfectly soften butter.

Immersive video plays with audio. In QA, we switched from vertical video to 16:9 because vertical cropped too much out.

One of our clients walks us through Kitchenaid's new product called Cook Processor Connect and interacts with the kiosk. In 2019, 175,000 people attended CES in person.
Credits

Michael Frease, ECD
Kristen Miller, SVP
Tony Bailey, Tech
Keith Soljacich, Tech
Quentyn Poynter, Dev
Chris Jansma, CD
Kurt Leonard, CD
Chris Gedris, ACD
Jason Uzurraga, AD




My Role

User Experience Designer

Personalization + Ingredient Recognition + Guided Cooking
with Yummly

In 2017, Whirlpool bought Yummly, an app that curates recipes for those searching for new ideas in the kitchen. Since Whirlpool is transforming into a software company, digital products connected to their devices distance them from their competitors and appeal to tech-savvy millennials moving into their new home.

At CES 2019, Whirlpool shows off three key benefits of using Yummly while in the kitchen.

I created wireframes to help guide the team and client through the details of each feature.

For Yummly, we designed a tour of the app that introduced Whirlpool fans to Yummly. First, the user gets a video introduction and then the user takes a quiz about their cuisine preferences and allergies.

After the survey, we show the user a waterfall of recipes that are customized to their survey results.

Finally, we ask the user to try the Yummly app on their iOS device.

As of Spring 2020, Yummly has a 4.5+ rating in the App Store, 2M+ recipes and 26 million active users.
Credits

Michael Frease, ECD
Kristen Miller, SVP
Tony Bailey, Tech
Keith Soljacich, Tech
Quentyn Poynter, Dev
Chris Jansma, CD
Chris Gedris, ACD
Rhiannon Davis, AD




My Role

User Experience Designer

World of Whirlpool Elevator Lobby Design

Whirlpool's headquarters are located in Benton Harbor, Michigan. However, in downtown Chicago resides their innovation center, namely World of Whirlpool. Cooking shows, product debuts and events all under one roof, as well as multiple marketing teams sitting on the upper floors. It is located in the renowned Reid Murdoch building right along the Chicago river.

Since I had been working with the brand for about a year, and I had print experience, the team asked me to concept some wall murals for the lobby. This was one of the most fun project I did at Digitas!

My first concepts ranged from a collage style to more of a brick layers. It was important to Whirlpool to cover all the brands they serve, including Maytag, Kitchenaid, Jennair and Amana. I also explored including the tag lines with their respective logos and photoshoots.

I realized after our first round that column of logos was fighting the playful collage style, so I began using the logos as additional layers on top of the photos. My creative director was pleased with this result and the client was pleased.

Ziploc: Back-to-School

A double-sided brochure, with coupons on the back, was placed into each Ziploc box during the Back-to-School season.

This ad was printed in Working Mom magazine, and was an insert in nationally syndicated newspapers.

During the month of August, a second insert was circulated.

At Ogilvy, my first client was Ziploc. I can remember after the first meeting asking my co-workers if this was just a test project for a big brand and to my surprise they replied, no, this is for real and it's for Ziploc. Welcome to Ogilvy! While containing my excitement, I read the brief: develop an integrated program to engage Mom in the Back-to-School Box Tops for Education promotion from Ziploc.

PROBLEM:
The Back-to-School season is a crucial time for Ziploc as many moms are thinking about stocking up for the school year. Ziploc wanted to fully capitalize on this uptick in purchases against private label brands.
IDEA 1
Double Box Tops is a slam-dunk for Mom, for her kid, for their school. Let's show Mom how her Box Tops contribution actually helps her child's school. And, let's make the whole process transparent, easy and fun (from buying the products in-store to collecting the box tops).
IDEA 2 (selected)
Lunch is the little piece of home you take with you. And it's why she does what she can to make lunch special. She cuts off crusts. Not only is she getting the ultimate in seal protection, she's also giving her child's school double love notes, from Ziploc.
IDEA 3
Ziploc keeps things fresh. So does Mom. Let's give Mom fresh ideas for Back-to-School lunches, let's translate tween slang, let's make mom famous for doing her all to make sure that her kid has the best opportunity to learn, grow and florish.


SOLUTION:
The Lunch Notes initiative evokes the energy and excitement of the back-to-school season by utilzing hand-cut paper collages with a playful color palette and imaginative style.

All executions are inspired by the idea of an elementary school collage art project. This layered collage look is achieved through construction paper cut outs, illustration, photography and typography. To create energy and excitement, clever uses of scale and texture work together to create visuals for the back-to-school season.
RESULTS:
12% sales increase
100+ executions
MY ROLE:
Art Director, Illustrator
CREDITS:
Justine Greenwald, ECD
Rudy Rios, CD
Perry Littrel, CW

Scrubbing Bubbles Shopper Marketing

Concepts/sketches for a 2 page free standing insert for newspaper circulation.

After art directing a photoshoot in a studio out in West Chicago, I put the real images in place to have the concepts come to life.

After woking with the Ziploc team, I began meeting all of the different account executives and project managers that worked on multiple brands of the SCJ portfolio, including Scrubbing Bubbles. As a kid, I loved Scrubbing Bubbles because it made cleaning time fun. So when I got briefed on my first Scrubbing Bubbles project, my inner child broke through. This first coupon project led to a myriad of opportunities, including creating new bubble characters. But first, the coupon project.

BRIEF:
Jennifer is a 30-45 year old multi-tasking, on-the-go mom with a household income of $75k. She is familiar with Scrubbing Bubbles, but just the bathroom cleaner; not more advanced products like Toilet Gel or Shower Foamer. We created a two-page FSI that drives purchase of Scrubbing Bubbles bathroom surfaces, toilet and shower cleaning products via a mass couponing vehicle.

This project was not just full page, it was two pages, and was one of the largest coupon designs Ogilvy had done for SCJ. It was the first time I would consult with Chuck Taylor and Terry Cosgrove, the creative directors for all of SCJ, who sat in another department of Ogilvy. We eventually become very good friends.

SC Johnson wanted to lift Scrubbing Bubbles brand equity and apply it to not just the bathroom, but also the kitchen. We launched a new product at Target and announced it in a full page ad in Food Network magazine.

Scrubbing Bubbles: The Style Guide

After a year of working on SC Johnson, it was clear that my heart sat with the bubbles. Leadership realized this and I began to be added to every Scrubbing Bubbles project in the agency. During one of our busy weeks, I realized that while my presence was appreciated, it wasn't the best use of my time. One Friday evening, I started creating the Scrubbing Bubbles style guide. I shared it with the creative directors the following Monday and the whole team cheered. While this wasn't an ask from the client, it helped current members and new members of the team speak in all things Bubble.

Selections from the style guide that was admired across the agency.

MY ROLE:
Creative Lead
CREDITS:
Karen Smith, ECD
Joe Ondrla, CD
Chuck Taylor, CD
Terry Cosgrove, CW

Campaign: Let's Bubble!

We built bathrooms in Times Square to spread the word about Let's Bubble!

One day during a Scrubbing Bubbles status meeting, the account team said a huge budget was coming for a new campaign. It was beyond shopper marketing and coupons. It was going to be 360 and was going to create an infinite amount of touchpoints. The hardest part of this brief was... there are no limits!

I brainstormed with Chuck and Terry and many others... we could get Jerry Seinfeld. Queen Latifa. We could go clean up Las Vegas. We could turn the bubble characters into movie stars. The ideas were endless.

It was exciting for me because the idea led to the execution. We weren't briefed to shoot a commercial, or do a magazine ad. Our task was to come up with a multi-channel idea and all the executions would follow. This led the team to "LET'S BUBBLE!"

Initial posters that were based on a call-to-action to clean all of America.

Eventually I was introduced to Donna Charlton-Perrin, the group creative director of Ogilvy Chicago. She had heard about my passion for Scrubbing Bubbles and asked me to help out with 5 television commercials. This was one the most important conversations of my career. But that wasn't all. One of our concepts to create Bubble Cars was approved by the client, so we needed someone to design the car. It was a busy few weeks as I learned not only how to storyboard for TV, but also design 4 Volkswagen Beetles that would be featured in the commercials.

The wagons turned out great. I even got to drive one on the interstate!

The team wanted to send the Bubbles on a mission to go and clean across America. But how?

First, we set up a tent in Times Square during New Year's Eve to spread the word. Not only were members of the public able to stop and talk to brand ambassadors, they could nominate a place in their community that needed to be cleaned by the Bubbles... a dog kennel, a food kitchen or even an elementary school.

After getting the nominations, they were put onto a campaign website for voting. 25k was given to the winning nomination. To contribute to this brand idea of cleaning America with America, we shot 5 commericials casting real people, not actors.

From the cars, to the nominations, 2014 was a great year for Scrubbing Bubbles. Let's Bubble!

MY ROLE:
Creative Lead, Art Director, Illustrator, Storyboard Artist, Retoucher
CREDITS:
Donna Charlton-Perrin, GCD
Karen Smith, ECD
Chuck Taylor, CD
Chris Hain, CD
Terry Cosgrove, CW
Steve Hahn, AD
James Lee, AD
Amy Rumbarger, UX
Jon Morgan, CD

Glade Spring

Two years, five television spots, four car designs, and a ton of free cleaning products later (stored in my tiny Chicago apartment), it was time for me to let the production team take the reins of the Scrubbing Bubbles campaign. Where would I go next? The Glade team needed some fresh thinking for their Spring 2014 look and feel. This was new territory and the clay was wet.

BRIEF:
Create habitual excitement and anticipation for Glade's fragrance innovations driving incremental sales of Glade's core forms and distance the brand from the competition on fragrance equity perceptions.

Make the shopper stop and take notice.

Thrill the shopper with an engaging in-store experience by bringing Glade's fragrance story to life in a way that encourages exploration and experimentation.
For Spring and Fall, Glade creates limited edition scents. With the new scents, Menasha, the packaging art production company, designs packaging that shows off the new fragrance. Glade challenged the team with making a graffiti-inspired, colorful and textural look and feel that was bold and would stop the shopper in the aisle. An additional detail: Some fragrances were limited to just Walmart and some just to Target, so we had to design displays around these requirements. We started with a full pallet display concept.

We started with the biggest pieces to provide the largest blank canvas and to ensure the elements we were creating were resolution independent. Everything we made for the pallet could easily scale down to smaller sales collateral and digital.

One of the challenges I faced was having different production requirements for different sides of the pallet. On the sides, we utilized full process color. For the front and back, we had 2 spot colors. My creative director complimented me when I used the white corrugated form as a third color so we could accomplish our stenciled look, using Rubine, Cyan and the paper as three colors.

We also created custom dies for the top of the palate, which added to the energy and excitement of the collection.

At Walmart, we made the display interactive. LET LOOSE and DIG IT fragrances were exclusive to Walmart, so we made a yellow version of our national, rubine pallet.

The second part of this initiative was applying the grafitti style to smaller elements, like FSIs. When I was briefed on the national FSI, I approached it in different proportions and varying levels of detail.

I added a concrete sidewalk to house the products and give the grafitti context.

I initially had 3 different directions to take the spread, with different approaches to scale and density.

MY ROLE:
Art Director, Illustrator
CREDITS:
Laurie Loughry, CD
Mark Ocampo, AD

Emerson Digital Transformation

Desktop and mobile viewports of the Flushability Educatiion page on Cottonelle's website.

Emerson is an electrical equipment company based in St. Louis with over 75,000 employees worldwide. It's competitors include Siemens, General Electric and Honeywell. Engineers, scientists and business leaders work with and work for Emerson to create solutions in 100s of industries: aviation, energy and food production, to name a few.

While Emerson was highly successful in the 70s, 80s and onward, they were struggling with digital transformation: outdated website, experiences not considering mobile and the idea of computer vision for engineering was non-existent.

A question kept coming up for the team: What does the Industrial Internet of Things look like and how does Emerson lead the way?

Below are a few highlights from this massive project!

Global Navigation

Watch a bit of this video to understand the massive scale of Emerson's taxonomy. It's no joke!

We knew we were developing a design system with components in mind, but where to begin first on week one? Navigation.

Defining how the user would navigate the website would lead us to flows and eventually pages to house components. But how is the user navigating? There were three core requirements for navigation that were agreed upon by Digitas and Emerson:

1) The navigation needs to reflect the business structure
2) The navigation needs to be multilingual
3) The navigation needs to highlight Emerson's products and Emerson's thought leadership

Taxonomies

Apple's website is primarily made up of information about their computers and information about their phones.

Similarly, Emerson has two offerings: Automation Solutions and Commercial/Residential Solutions. This is their business structure. Apple.com separates computers and phones, but these sections share design patterns, components and styles. The same would apply to Emerson's separation between Automation and Commercial/Residential.

The three classifications above vary in terms of their simplicity, business requirements and UCD.

The results of our user testing were varied. First, we had to educate Emerson on why user testing was important. For them, solutions are very mathematical and non-debatable. But for experience design, the process is a little bit more organic than that. Once we got over that hump, our tests became more valuable to the client, and option A led the way in terms of positive results.

Because the business structure is Automation and Commercial/Residential, it was important to the client to make that clear first. It also allowed the user (engineer) to see the two options, and understand them. There was an "education" factor that was very important for the business.

A slow downed prototype I handed off to our developer partners (Perficient) using Taxonomy B.

An additional exploration using a combinatoin of Taxonomy A + B.

The global navigation today uses Taxonomy A.

Locales & Languages

Brazil region in Portuguese.

Germany. Commercial & Residential solutions does not translate to German sensibly so it remains English.

Korea

User Personas

We worked with the client to develop 3 personas and one would emerge as the primary. Together with the client, we deemed the engineer/technician as our primary user. Engineering is at the heart of what Emerson customers do, big and small. Secondary personas include business decision makers and installers/contractors/DIYers.

PDP

The product detail page could be called the most important part of the Emerson website. This is because it leads to e-commerce, and ultimately solutions for customers; it leads to the creation of the catalog and searching the catalog; and it houses all of the crucial information for our persona: drawings, documents and details about use and safety of a particular product. We began with a steep list of requirements and a sketch.
Components that were created during this sprint include the PDP hero with multiple CTAs; a jump navigation, which stays with the user at any point in the page; specifications with data and value columns; docs & drawings with category filters and language designation; features list; training PDFs; related videos; links to other utilities like live chat; and related products.

While this looks rather simple, it took the team 3 weeks to define requirements, get to sketching, and presenting to the client in person at Emerson HQ.

Here are the results, designed for three viewports.

Partner PDPs

Emerson often buys other companies and with that comes rebranding and new websites. While Emerson used to let it's other brands have their own online stores, the clients now required that all brands live under the Emerson.com umbrella, with one customization: color. So, when we design anything, we have to put a lens on other brands.

Check out Ridgid and InSInkErator below.

Catalog

Emerson's business model thrives on the delivery of engineering solutions and those solutions are based on configurations of products. What is the anatomy of an Emerson product? We found that it's not always simple: sometimes the product is a physical object and other times it's a service or warranty. And in some cases, it's a combination of both.

A challenge my team dealt with on this larger project was simplifying extremely complex engineering terms. And the catalog was full of them.

Here was the first design for the catalog. It was one of the most complex UX projects I've ever worked on and has evolved a lot since this first design.

Here are wires for faceting software, which was similar UX to faceting product.

In the middle of our project, what use to be facets (Products, Documents, Web Pages, Videos) became Tabs. This was a huge improvement to the experience.

The tabs in tablet view.

We also were able to design content-specific tiles. For example, mobile apps feature an App Icon and links to App Stores (and yes, BlackBerry world was included).

Checkout Flow and Commerce

If Emerson were a film and I had to pick what the climax of the plot was, it would be commerce (we drop the e). This feature was what the team had been waiting for... and was the ultimate test for us, the clients and our primary user. The ultimate question was...

Can Emerson customers buy online?

It was a hard question to answer before this project. Customers used to buy products with a phone call, some emails and even some SKU number knowledge. Another challenge for this project was that the prices are enormous, so how do or don't we deal with the supposed anxiety of high prices (in the millions, sometimes).

I learned some much about checkout flows during this project and happy to say Emerson engineers worldwide use this feature everyday. Take a look.

Once a customer had selected to buy a product, they have to configure it, meaning they have to select the sub-type of the product. Very engineer!

Here is a close up of cart with the user adding to their cart by SKU.

We had two different shipping information states: one for single shipment and one for more than one single shipment.

We had to face the fact that ultimately, there are some products you can't buy directly online. For example, a 1000 ton, underground pipe. Instead, users can request a quote and Emerson will follow up.

Personalization

Even though Digitas is an agency and Emerson is a client, I felt like we were a true partnership. In fact, sometimes I even felt like an Emerson employee. It's amazing when this happens because you start to have a real connection with the brand and you are more willing to protect it.

During downtime, between sprints or when devs in the ring, I would come up with future states for Emerson. We had discussions about AI and computer vision with the business, but it never went anywhere. So one week, I decided to design a future vision of what Emerson could be in the future.

Above is the idea for an engineer's portal where they can view upcoming service appointments, monitor the health of their devices and look at their team's activity.

Credits

Clients:
Kathy Button Bell
Sarah Beadle

Digitas:
Kristen Miller, SVP
Ethan Machado, Content Strategy
Chris Ina, UX
Matt Saip, Tech
Sujal Patel, Tech
Karl Enghofer, UI
Jane Verwys, UX
Harrison Williams, UX




My Role

UI Design Lead

Cottonelle Flushability

Desktop and mobile viewports of the Flushability Educatiion page on Cottonelle's website.

Since 1972, Cottonelle has been a leading toilet paper brand, known for its unique, rippled texture. Today, people are using not just toilet paper to get the job done. Sprays and wipes have disrupted the market; what use to be a travel wipe has now entered the home as a daily product. Some challenges we faced during this project were educating the consumer on why these wipes in particular are safe to flush without damaging the environment or the plumbing.

BRIEF:
Build a "Flushability" section on Cottonelle's website that (a) educates the consumer on the safety of the product (b) encourages a regimen of using Cottonelle Dry and Cottonelle Wet and (c) discourages the use of baby wipes for adults.
PROCESS
After we received the brief, I told the team we were going to have a brainstorm the same day. I brought sticky notes, a whiteboard and a pen.

I asked everyone at the brainstorm to start jotting down communication points separately onto sticky notes. Next, we arranged them in order of priority. We also started to cluster similar ideas together.

I took a photo on my phone of the result and used this to develop the wireframe. The benefit of having this step is so that everyone is involved in the wireframe process.

I built the wireframe after the brainstorm which caused me to make a few decisions: (1) what comes first (2) which components are net new vs being re-used and (3) where are the opportunities to create visual impact?

I worked with Kimberly-Clark IT to identify which components could be reused from the existing build. New components we made together were the comparison table and the video gallery slider, which the client said they could use on other KC web properties.

Credits

Amy Ditchman, CD
Nick Senior, ACD
Jody Bufkin, CW
Kimberly-Clark IT (dev)



My Role

UX/UI

Amazon + Kimberly-Clark

When Digitas won the KC business, I informed the team I was very familiar with the product portfolio because I had worked with KC at my job at Ogilvy. As the new Digital Agency of Record, Digitas was tasked with not creating PDPs to sell product on brand websites; instead, we would lead the Amazon.com PDP development across Huggies and Kleenex.

Challenges I faced during this project were educating the team on the limitations of Amazon: components, certain file types, best practices. We wanted the brand stories to come through, but we also wanted to blend in the Amazon digital ecosystem. We started with Huggies.

Amazon PDPs feature "above the fold" tiles that the user can click through to learn quickly about a product. Here we brought through the look and feel of Huggies Special Delivery, a premium diaper. Black and white photography is the lead visual for the product, so we spread that throughout the PDP.

Below the fold, I gave recommendations about what type of Amazon components to use and skinned them in the Special Delivery style.

Credits

Amy Ditchman, CD
Nick Senior, ACD
Josh Miller, UI
Kimberly-Clark IT (dev)



My Role

UX/UI

Costco + Kimberly-Clark

Not only did we work on Amazon, we worked on other stores too, like Costco. Each online store has different specs, requirements and expectations. I ensured that the brand story came through consistently no matter what the store was. One of the challenges I faced was taking package icons and make them web-ready: readable, accessible and clean. It wasn't just a resize; it was a redesign.

For Little Snugglers (size N - 2), gold and red are the primary colors. Our icons mimic the packaging icons.

For Little Movers (size 3 - 6), purple and red are the primary colors. Some of these are net new, and the client asked for the vector artwork so they could possibly integrate into the print packaging.

Costco product tours are flexible. We recommended that the tour be consistent with how a shopper would discover the features of the diapers in the store. So we made it very simple and used the icon equity to tell the story.
Credits

Amy Ditchman, CD
Nick Senior, ACD
Kimberly-Clark IT (dev)
Tisha Auguste (intern)



My Role

Icon Design, UX/UI

Huggies.com

Because the client was very satisfied with the work on Cottonelle.com, they were confident we could work on Huggies.com as well. I was in charge of asset presentation, and technical delivery, for multiple brands on the website.
Credits

Amy Ditchman, CD
Nick Senior, ACD
Kimberly-Clark IT (dev)



My Role

UI, Retouching

Kleenex

Above the fold tiles for the Kleenex Soothing Lotion Amazon PDP.

Comfort in the Kleenex style for Ultra Soft.

Breathe in the Kleenex style for Anti-Viral.

Bloom in the Kleenex style for Trusted Care.

Credits

Amy Ditchman, CD
Nick Senior, ACD
Kimberly-Clark IT (dev)



My Role

UX/UI

Goodnites: Digital Shopper Kit

Normally, banner design is flat, boring and antiquated. However, Kimberly Clark made it clear that OLA was a priority for 2020. We partnered with Flashtalking to create a shopper kit, flexible to multiple retailers, multiple languages, multiple... everything. While it appears simple, creating this system of variability was complex. Because I have experience in component design, it wasn't hard to educate the team on how we aren't just designing banners; we are designing building blocks that make the banners. It's a beautiful thing!
In order for the shopper kit to make the most impact, it needed to be flexible. But how?

We recommended to KC that instead of building flat banners, we should build a system. It includes the ability to change graphics, images, messages etc. That way, the media buyers can fine tune the creative wants the banner is deploys and metrics start being looked at.

This was an exciting challenge. Working with variables can limit creativity, but in the end, you are delivering the best possible solution to the user, so for me, it's worth it.

Upsell: Huggies Mommy Answers Product

In order for the shopper kit to make the most impact, it needed to be flexible. But how?

We recommended to KC that instead of building flat banners, we should build a system. It includes the ability to change graphics, images, messages etc. That way, the media buyers can fine tune the creative wants the banner is deploys and metrics start being looked at.

This was an exciting challenge. Working with variables can limit creativity, but in the end, you are delivering the best possible solution to the user, so for me, it's worth it.

Jim Beam Honey

The experience served two primary users: 1) the brand ambassador and 2) the patron. Ergonomically, the users were shoulder-to-shoulder.

When Ogilvy won the Beam Suntory business, the team had to be rapidly expanded with expertise in two areas: in-store display and digital. At the time, Jim Beam was irrelevant to younger demographics, like 21-30. Perception of the brand was antiquated and cheap. Our thinking wouldn't just apply to their whiskey portfolio, but to their other products as well, such as vodkas and tequilas.

BRIEF:
Build an experience that lives beyond the bar and the initial sample, and lives on social media. The product will go through beta with a new release, Jim Beam Honey, and will eventually touch other products. The client requested we use a Bear Mascot, as other marketing efforts like TV were already doing so. Most importantly, this experience should only target those legal to drink.
STEP 1
We will set up events at bars in 12 markets within the United States. At the event, we will have samples being delivered to patrons by brand ambassadors. The ambassador will also have the Bear Mascot with them to create excitement around the tasting.
STEP 2
Each patron will have to agree to terms and go through an age gate. We also will ask them if we can use their photo in Beam's future marketing communications. Once all is good, the patron will take a photo of the patron "fighting" with the bear to get the Jim Beam Honey.
STEP 3
Patrons will receive their photo via email and be given the option to share on Facebook and Twitter. Overall, we create a fun sampling experience that built brand awareness and opportunities for friends of patrons to view and share in the fun.


User flow created with Axure.

Selections from the wireframes.

Results
‍‍
Jim Beam Honey became a permanent part of the portfolio and Beam's competition, Jack Daniel's, released a competitive honey product after Beam's success. I've tasted both and I truly like Jim Beam Honey better. Also, the client gave us the green light to continue this digital ecoystem into three more products: Beam Original Whiskey, Jacob's Ghost and Red Stag.

Jacob's Ghost White Whiskey

Because of the beta test with Jim Beam Honey, the team was better prepared to have an experience without a mascot being present. Instead, the Ghost of Jacob Beam, the founding father of the Beam Brand, would be added into images taken at the bar. Keep in mind this was long before augmented reality was common on apps like Snapchat, Instagram, TikTok etc. so it was unexplored territory. Not only was I in charge of the art direction of the experience, I helped with the mechanics of adding an animated ghost to an already existing image and outputting a .GIF to the user.
Results
While these digital experiences created excitement in the bar, the overall result didn't feel personalized enough. The client increased our budget, which would include hiring an outside agency called Strawberry Frog to help us get there. We also would work on their most important product, Jim Beam itself.

Red Stag by Jim Beam

Knowing the beyond the bar experience was working, we pitched crossing over into another Beam Suntory brand. This time, we would add a prop (a helmet with antlers) to encourage photo taking. The beauty of this digital program as they were able to build a core system of image capture, upload and post to social. And we were able to tease it to multiple facets of the client portfolio.

Jim Beam Whiskey

Because of the beta test with Jim Beam Honey, the team was better prepared to have an experience without a mascot being present. Instead, the Ghost of Jacob Beam, the founding father of the Beam Brand, would be added into images taken at the bar. Keep in mind this was long before augmented reality was common on apps like Snapchat, Instagram, TikTok etc. so it was unexplored territory. Not only was I in charge of the art direction of the experience, I helped with the mechanics of adding an animated ghost to an already existing image and outputting a .GIF to the user.
The advertising campaign Beam had already created was called 'Cheers to the Fanatics' and it was my team's decision to keep this name but add a game to it. I worked with Ben Doessel (writer) and Shawn Roberts (ACD) to come up with a new name called Face-Off. It's a mouthful for a logo but we ended up with a fun, sports-themed logo. Here is the exploratory I created below.

The look and feel of the UI was purposely made to look fun and have a sports aesthetic while it was being shared between the brand ambassador and patron.

Results

43% sales growth

70% of current drinkers now under 44
(a complete shift prior to our campaign)

34% increase in year-on-year growth
(Marketing Week)
Credits

Justine Greenwald, ECD
Abigail Kelly, CD
Shawn Roberts, AD
Ben Doessel, CW
Mike Epstein, CW
Chelsey Olsen, PM

My Role

UX/UI, Art Director, Logo Designer

Pinnacle Vodka

One of my last projects at Ogilvy was helping out the Pinnacle team with their in-store displays. Pinnacle is a vodka in the Beam-Suntory portfolio that is distilled in France. It's known for having playful flavors, but our suburban shopper was intimidated by how to use them. Especially because vodka traditionally takes itself so seriously.

We took the rocket science out of mixology and created Pinnacle Delight-ology: the art of mixing delightfully easy cocktails. Then made it seasonally-relevant and scalable, achieving record participation from the field.
Doing these photoshoots were some of the most fun I had with the Ogilvy team, because, after, we got to drink the product!

After the client was pleased with our direction for in-store promotions at a poster level, they wanted to see what the team could come up with for 3D displays for four different seasons. The team and I concepted, whiteboarded, sketched, modeled and came up with as many ideas as we could. We would take sketches, scan them in, and bring them into photoshop to add color and texture.

First I would draw the environment and put isolated objects next to it. In Photoshop I mirrored the environment, cut out the objects and collaged them together. This concept was for Q1, which for Beam-Suntory was January to March.

Q2 had a Spring theme.

Q3 started off with a Polynesia, tiki theme. However, the team felt this was going in the wrong direction for the brand and put it to close to competitors that were already feeling the island vibes. So, we reimagined a second Q3 concept.

Instead of going to Polynesia, we went to Niece instead.

Here is the first stab at doing a Q4 display, which the client specifically wanted to be Christmas-themed.

After our first client review, we pushed Christmas even more.

This exercise was playful, exciting and allowed us to get all of ours ideas on the table. The client proceeded with three directions: Q1 Basketball, Q4 Holiday, but for Q2/Q3 the budget only allowed for one display, so we were asked to combine the spring and summer looks.

Here is the northstar display concept that would drive the entire annual program. We started with objects that could scale to other seasons, like tent signs, inflatables and a cafe setting. We focused on the time of the season in creative, such as building a basketball scoreboard. The die lines and creative can easily swap on the same structure throughout the year and reduce construction time and costs.

Final art for the scoreboard.

While we were excited about creating a tropical theme, we knew from the first client conversations they wanted to steer clear of beach vibes. We combined Q2 and Q3 together to make suns-out drinks-out display that could lean into both seasons and reduce production from 4 to 3 displays and keep this display up for 5-6 months

Due to store policies across drug and liquor, we could not hang lights connecting the tree and the cabin. We also could not put snow confetti on the floor directly, so we put it in the creative.

Credits

Justine Greenwald, ECD
Abigail Kelly, CD
Shawn Roberts, ACD
Cara Suglich, CD/CW


My Role

Art Director, Illustrator, 3D Artist

Elliott Beazley UX

i'm elliott

UX/UI Designer
Living in Atlanta

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