The exterior of the Whirlpool Booth at CES 2019.
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.
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.
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.
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.
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.
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.
Selections from the style guide that was admired across the agency.
We built bathrooms in Times Square to spread the word about Let's Bubble!
Initial posters that were based on a call-to-action to clean all of America.
The wagons turned out great. I even got to drive one on the interstate!
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.
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.
Desktop and mobile viewports of the Flushability Educatiion page on Cottonelle's website.
Watch a bit of this video to understand the massive scale of Emerson's taxonomy. It's no joke!
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.
Brazil region in Portuguese.
Germany. Commercial & Residential solutions does not translate to German sensibly so it remains English.
Korea
Here are the results, designed for three viewports.
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).
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.
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.
Desktop and mobile viewports of the Flushability Educatiion page on Cottonelle's website.
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.
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.
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.
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.
The experience served two primary users: 1) the brand ambassador and 2) the patron. Ergonomically, the users were shoulder-to-shoulder.
User flow created with Axure.
Selections from the wireframes.
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.
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.
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.