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<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/momkai_ddd_brenna_04_podcast.jpg" alt="" /></figure>
 Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month it’s Momkai’s turn - a strategic design studio based in Amsterdam and Berlin. We talk with Brenna Foster - their strategy director who is located in Berlin. How their 20th anniversary brought about the launch of Memberful Design as a gift to the creative community. 
Momkai &amp; Brenna
Going back just over twenty years, Momkai was founded by Harald Dunnink - creative director - and Sebastian Kersten - now advisory board member - in November 2002. Their goal: to create a place where like-minded creatives could create lasting initiatives. Initiatives that would serve a purpose and generate impactful experiences. Their ethos and design philosophy: longevity. 
Fast forward 20 years: they are now not only the proud owners of Momkai, but also initiators of plenty more impactful initiatives that are focused around that exact same ethos, including De Correspondent - an online innovative and ad-free journalism platform, and more recently - as part of their 20th anniversary celebrations - Memberful Design. More about this later.
Brenna joined Momkai in April last year as a strategy director, and was no stranger to the agency. She already collaborated with them whilst working in NYC at Blue State - a progressive New York-based agency that teamed up with Momkai to raise funds for The Correspondent - the international edition of De Correspondent. She also worked on developing digital strategies for organisations like the Obama Foundation and Unicef.
In 2020 Brenna moved to Berlin looking for a better work-life balance. Initially she worked for the climate start-up KLIMA - a carbon offsetting mobile app - when she was approached by Momkai to help set up their Berlin office and look after their German- and European-based clients. Brenna, Harald and their Momkai colleagues were also on a quest as to how to connect people in a more meaningful and sustainable way: introducing Memberful Design.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/momkai_ddd_brenna_03_studio.jpg" alt="" /></figure>
Introducing Memberful Design
‘Memberful Design shares insights in order to help design and build communities, and create a sense of belonging. The platform shares the experiences of leading design practitioners - using podcasts, toolkits and essays. Our goal is to uncover strategies that help create initiatives with a lasting impact.’ 
Memberful Design is the evolution of Verwondering, an award-winning design podcast in the Netherlands - also created by Momkai. Momkai would now like to bring this series to the global stage, in English - for a broader reach. Every episode explores how to create meaningful connections and grow active communities. From start-ups looking to grow their membership programmes to NGOs igniting social movements. 
‘Our first guests were Priscilla Chomba-Kinywa - global CTO of Greenpeace, Eddie Opara - Partner at Pentagram in New York, and Avery Trufelman of 99% Invisible and Articles of Interest. These were amazingly inspiring people.’
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/momkai_ddd_brenna_02_platform.jpg" alt="" /></figure>
Why do we need Memberful Design?
‘Today’s issues can’t be solved by individuals alone. They’re universal, and require collective action. That means creating a sense of community and identifying a shared purpose for groups to rally around.
The practice of Memberful Design helps organisations and initiatives everywhere to do just that. It’s about exploring and listening to what others need, creating a dialogue, and then sharing insights and tips to address those needs. Ultimately, it’s about building communities with a shared purpose that stand the test of time.’
What’s in a name?
A memberful experience or, in other words, a meaningful member experience. 
 
‘We learned from a previous collaboration with New York University and Professor Jay Rosen’s Membership Puzzle Project that memberful initiatives lead to the richest and most meaningful user experiences. Experiences where members are at the centre — where we’ve intentionally created spaces that answer their needs. It’s essential, in short, that we’re memberful. That’s how we arrived at Memberful Design.’
<blockquote>Successful membership organisations are empathetic and open to learning about what their members actually want. They connect individuals’ passions to a shared larger purpose, getting the ratio right between the person and the group. </blockquote>
Quote by Emily Goligoski - former research director at the Membership Puzzle Project, and senior director for audience research at The Atlantic
The future of Memberful Design
‘This is something we truly believe in and want to see grow. Currently we have a small editorial team as the project is self-funded. However, our plans are BIG. We hope to become the go-to source for inspiration, insights and tips for building memberful experiences and communities around the world. That means that great, inspiring guests and content are key. We have an amazing lineup coming up and are always on the lookout for the next guest we can learn from. 
This way we hope to grow our Memberful Design community organically, and help build memberful movements everywhere — around brands, organisations and meaningful causes. We passionately believe that this will create loyalty, and spark positive impact around the world.’
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/momkai_ddd_brenna_03_website.jpg" alt="" /></figure>
Dutch Digital Design: a memberful community
‘As a partner agency and founding member of Dutch Digital Design, we truly believe in the vision behind this community of leading agencies working together. To strengthen their network, exchange knowledge, inspire each other and put the best Dutch digital work on the map. Dutch Digital Design is a great example of a memberful community - working together for a great cause: building recognition of amazing digital work and inspiring others.’

Partner in the Spotlight: Momkai's Memberful Design and building communities

Partner in the Spotlight - Momkai

<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/MOVE.jpg" alt="" /></figure>
Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month we talk with Dutch digital branding agency Born05. With their creative director Timo Wilbrink. About the much needed return of real, ground-breaking digital work. What they mean by that. What they are wishing for. And what they believe the current state of digital design is. 
Introducing Timo Wilbrink and Born05
Born05 - the name says it all - was founded in 2005 by three guys - Rogier IJzermans, Mickel van Kouwen and Sjors van Hoof - who were studying at the HKU University of the Arts in Utrecht. Making it one of the longest standing digital agencies in the Netherlands. A digital-first branding agency - creating worthwhile brand experiences that make genuine impact.
They were passionate about and ready to create and share new and ground-breaking ideas with the world: a digital magazine was born. Their work - a combination of great design, digital technology and music - was noticed. And soon big names like Wegener Publishers, KLM and bol.com knocked on their door asking them to create cool and innovative digital experiences for them too.
Now in 2023 Born05 are still going strong, and part of ACE. A creative network of 12 specialist agencies who help businesses staying ahead of the game.
Timo joined Born05 in 2007 as an interaction designer (UX designer). Almost straight after college and a year working as a chef in the hospitality industry. He studied Media Technology at the HU, University of Applies Sciences Utrecht. Bursting with ideas. Keen to explore all that was possible with digital technologies. Especially as digital had not yet claimed its own territory. However, brands started to take their online presence more serious. Digital design was growing up, and projects became more complex.
Moving forward 15 years: what has happened to the digital design industry? 

<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/PORSCHE.jpg" alt="" /></figure>
Digital was hot
Timo shares: ‘So, from 2005 digital was hot, and the sky was the limit. Clients were open-minded and willing to let us create digital experiences that would make a difference. That were innovative and out there. The work was super cool. The industry was growing up.
Our clients loved the fact that the results of these digital experiences were measurable and quantifiable. You could measure the interaction between your digital product and your audience. It was easy to see whether something was working or not. If it wasn’t working as expected, it could be changed. This was, of course, much harder in the offline world.
However, this was also the start of the downfall of cutting edge digital experiences. You could create the most beautiful and impactful digital platforms, but this was no longer the main objective for a client: they were keen to see what the results were. That became leading.
Also, there was the rise of social media. Initially a very positive development. A brand could totally own this channel by creating a brand experience where people could interact with the brand. But, through complex algorithms and data tracking, this media channel also matured, and became much more of a science rather than an innovative digital creative channel. Content is now made based on what works for the algorithm and the social media owner, not necessarily the brand. Also, brands starting to realise that users of social channels aren’t their users, but users of Instagram, Facebook or TikTok. The social channels own the data, not the brands.
Then uniformity started to creep in. In the early days brands needed digital agencies to create websites for them. They did not yet have the knowledge and technology in-house. However, as digital technologies evolved and became part of everyday life, brands and companies also started to have their own in-house digital resources. Resulting in corporate, uniform websites, protocols and rules. Creativity was no longer the main objective, efficiency was.’
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/REVEALS.jpg" alt="" /></figure>
Time to (re-)start a digital design revolution
With social channels and uniformity taking over, how are we still able to make a digital difference to our users? How do we create stand-out?
Timo: ‘It is essential that we build genuine relationships with our users. That we create worthwhile brand experiences that make a real impact. Brands need to make their brand experience more personal again. They need to really speak to their audience. Inspire them. Connect with them. We, makers, can help do this by creating beautiful, impactful brand stories. 
We need to fight against the throwaway culture, also on a digital level. Get people to spend more time with brands again. We can only achieve this by spending genuine attention and time when creating such an experience. Not by following protocols, adhering to compliance and getting quick results. We need to convince brands. By getting their and their audience’s attention back to where it belongs.
We, at Born05, have started our own digital fashion brand Reveals. To inspire and lead by example. Adding digital personalisation to clothing. Every piece is unique and reveals personal information about its owner.
We believe that you always need to keep telling your story, personally and passionately. In order to be authentic in your own special way. Digital technology can help you with this, in so many meaningful, creative and innovative ways.’
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/TOMASU.jpg" alt="" /></figure>
Dutch Digital Design: platform for a digital design revolution
‘Collectives like Dutch Digital Design can help share the message about the importance of bold, creative and innovative digital work. This way we can re-educate our own industry and market. Be re-born, and return to real digital.
Obviously, within a setting like Dutch Digital Design with so many outstanding creative agencies, everyone will have their own opinion about what real digital actually is. It will be interesting and inspiring to hear what these opinions are. Let’s share.’

Partner in the Spotlight: Born05 - bringing back real digital

Partner in the Spotlight - Born05

<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/esmeejop.jpg" alt="" /></figure>
May we introduce our heads of curation. Meet Jop Quirindongo, designer and owner of Lowres Creative Studio - and Esmée Lechner, design director at Media.Monks. They have recently joined the ranks of Dutch Digital Design, and are following in the footsteps of Rolf Coppens, our previous head of curation. We had a chat with them about what makes them tick, how they ended up In digital design and their favourite Dutch digital design cases.
 The road to digital design Esmée: ‘I was influenced by my dad from an early age. He’s a graphic designer. Therefore, design has always been centre stage in my family. We visited a lot of museums, and I was always busy being creative.
My first experience with digital design was my early experimentation with Photoshop. Both for school and in my own spare time. I also dipped my toe in CSS and HTML - two cornerstone technologies of the World Wide Web, and I liked it. So much so that I started a multimedia course at the Amsterdam University of Applied Sciences. Because I genuinely loved it. Not knowing this would still be my fulltime job ten years later.
After this I started as an intern designer at Proximity/BBDO because I was curious about the world of advertising. I loved the fact that I could help make something that could add value or solve something.
I worked at various advertising agencies for ten years. Learned lots but was slightly frustrated how the technical, digital side was always outsourced. Especially as I was interested in the interaction of the user with what we created. So, I joined Superhero Cheesecake - a digital experience studio that focused on creating interactive experiences. I am now at Media.Monks. Here we try to really connect with the user by creating immersive, interactive experiences through design, motion and technology.’
Jop: ‘Well, I was good at drawing. Did a lot of drawing. But ended up doing a music therapy course. This wasn’t a 100% match. Loved the music. Not the therapy. However, I did get a chance to play around with computers whilst on the course, and realised that I loved designing on a computer. My first bits of handy work were CD-covers.
So, I stopped with the music therapy course and enrolled at the HKU University of the Arts Utrecht at the digital media design faculty in Hilversum. I loved making things on the computer. I also experimented with HTML. And because this study was a pilot we could literally try anything. Great! I realised that I definitely preferred design to programming and editing. Although, to this day, it is still an advantage that I did learn how to do this too.
After college I started working for a record company designing materials for events, covers and websites, and eventually also ended up in advertising. That was fun. The projects were cool, and I loved coming up with creative concepts. However, design was really my thing, especially designing brand identities. I missed being part of something bigger, something longer lasting. To take part in the creation of a brand. I also realised that digital was the future. So, putting two and two together, I started my own studio where I could digitally design brand identities to my heart’s content.’
 What makes you tick? Jop: ‘To create impact. To create something meaningful that has a lasting, positive effect. For example, I love Tikkie - a Dutch payment app. I love how it works, but also its simplicity. How it makes our lives easier in a really simple but efficient way. GoSpooky is another one of my favourites - a social-first agency that looks at way to go beyond the way social content is created and consumed.’
Esmée: ‘Same here. Creating an impact, especially social impact. My favourite at the moment is Feelee - an app that helps youngsters understand their feelings and emotions through the use of emojis. We recently featured this case on our Dutch Digital Design website. Again, a simple idea with an incredibly impactful message.’ Plans for Dutch Digital Design Jop and Esmée: ‘To curate and feature more outstanding Dutch digital design - from interactive installations and e-commerce platforms to art and commercial projects.
Our aim is to continue to share a broad spectrum of amazing and impactful Dutch digital design cases. Delve deeper into how it’s made but also why it’s made. To share these with a large audience - from our website and social media channels to national newspapers and design magazines.’

Meet our heads of curation: sharing impactful digital design

May we introduce our heads of curation. Meet Jop Quirindongo, designer and owner of Lowres Creative Studio - and Esmée Lechner, design director at Media.Monks. They have recently joined the ranks of Dutch Digital Design, and are following in the footsteps of Rolf Coppens, our previous head of curation. We had a chat with them about what makes them tick, how they ended up In digital design and their favourite Dutch digital design cases.
The road to digital design
Esmée: ‘I was influenced by my dad from an early age. He’s a graphic designer. Therefore, design has always been centre stage in my family. We visited a lot of museums, and I was always busy being creative. 
My first experience with digital design was my early experimentation with Photoshop. Both for school and in my own spare time. I also dipped my toe in CSS and HTML - two cornerstone technologies of the World Wide Web, and I liked it. So much so that I started a multimedia course at the Amsterdam University of Applied Sciences. Because I genuinely loved it. Not knowing this would still be my fulltime job ten years later. 
After this I started as an intern designer at Proximity/BBDO because I was curious about the world of advertising. I loved the fact that I could help make something that could add value or solve something. 
I worked at various advertising agencies for ten years. Learned lots but was slightly frustrated how the technical, digital side was always outsourced. Especially as I was interested in the interaction of the user with what we created. So, I joined Superhero Cheesecake - a digital experience studio that focused on creating interactive experiences. I am now at Media.Monks. Here we try to really connect with the user by creating immersive, interactive experiences through design, motion and technology.’
Jop: ‘Well, I was good at drawing. Did a lot of drawing. But ended up doing a music therapy course. This wasn’t a 100% match. Loved the music. Not the therapy. However, I did get a chance to play around with computers whilst on the course, and realised that I loved designing on a computer. My first bits of handy work were CD-covers.
So, I stopped with the music therapy course and enrolled at the HKU University of the Arts Utrecht at the digital media design faculty in Hilversum. I loved making things on the computer. I also experimented with HTML. And because this study was a pilot we could literally try anything. Great! I realised that I definitely preferred design to programming and editing. Although, to this day, it is still an advantage that I did learn how to do this too.
After college I started working for a record company designing materials for events, covers and websites, and eventually also ended up in advertising. That was fun. The projects were cool, and I loved coming up with creative concepts. However, design was really my thing, especially designing brand identities. I missed being part of something bigger, something longer lasting. To take part in the creation of a brand. I also realised that digital was the future. So, putting two and two together, I started my own studio where I could digitally design brand identities to my heart’s content.’
What makes you tick?
Jop: ‘To create impact. To create something meaningful that has a lasting, positive effect. For example, I love Tikkie - a Dutch payment app. I love how it works, but also its simplicity. How it makes our lives easier in a really simple but efficient way. GoSpooky is another one of my favourites - a social-first agency that looks at way to go beyond the way social content is created and consumed.’
Esmée: ‘Same here. Creating an impact, especially social impact. My favourite at the moment is Feelee - an app that helps youngsters understand their feelings and emotions through the use of emojis. We recently featured this case on our Dutch Digital Design website. Again, a simple idea with an incredibly impactful message.’
Plans for Dutch Digital Design
Jop and Esmée: ‘To curate and feature more outstanding Dutch digital design - from interactive installations and e-commerce platforms to art and commercial projects. 
Our aim is to continue to share a broad spectrum of amazing and impactful Dutch digital design cases. Delve deeper into how it’s made but also why it’s made. To share these with a large audience - from our website and social media channels to national newspapers and design magazines.’

Dutch Digital Design Heads of Curation

<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/SamEyeAm.Photo__191004_SYM_0552.jpg" alt="" /></figure>
Six leading agencies - part of the Dutch Digital Design foundation: Dept®, Media.Monks, Adventure Club, code d’azur, Verve and Dentsu Creative - are joining forces to offer the Dutch Digital Design route as part of ADNIGHT.
ADNIGHT is the ‘Museumnacht’ (read: Museum Night) of the Dutch advertising industry. This year, on Friday evening, 14th October, around 70 agencies are opening their doors to the public. To talent, students, marketeers, peers, enthusiasts, friends and other (professionally) interested parties.
Creativity and design have always played a prominent role in the Netherlands. Globally the Netherlands is also a major player when it comes to digital design. The aim of ADNIGHT is to offer an insight into the international advertising industry in Amsterdam. There will be workshops, talks, guided tours, networking drinks, as well as plenty of room for socialising, fun activities and other surprises. Finishing the night in style with an after-party at Paradiso. The previous event, held in 2019, welcomed more than 6,000 visitors.
Here's an overview of what each of the six Dutch Digital Design partner agencies will have on offer, as well as a route planner for the best way to swing by all six agencies on the night.
Adventure Club – ADventure night
This design and innovation studio founded in Finland - with offices in Helsinki, Amsterdam, Turku and Berlin - will share an insight into the often ‘chaotic process' when producing creative work.
‘Normally, we only show the shiny end product of what we make for our customers and users. But during ADventure Night we want to tell you the true story of working in the creative industry – from briefing to delivery. We’ve created an interactive experience that gives visitors access behind the scenes - behind the glossy facade of most ad agencies - and at the same time a look into the creative process. After all that ‘hard work’, there will be some drinks and music: work hard, play hard.’
Address: Herengracht 444
Programme: <a href="https://www.linkedin.com/events/adnightxadventureclubamsterdam6974029249871503360/about">https://www.linkedin.com/events/adnightxadventureclubamsterdam6974029249871503360/about</a>
code d’azur – Creative Tech Night 
Digital brand and experience company code d'azur - with offices in Amsterdam, Austin, Barcelona and Dubai - will focus on the future of a world where consumer behaviour is increasingly influenced by technology, data, communication and creativity.
Their programme includes the following themes: Design for a sustainable future - together with their client: electric car brand Polestar, Rise of the metaverse, The conscious machine is here! (Should we run and hide or celebrate?), A talk on modern AI, GPT3 and DALL-E and The future of experiences. In addition, there is also the opportunity to create your own digital artwork. Furthermore, in-house progressive techno DJ rebrånded will be in the house, as well as Dutch producer &amp; singer-songwriter Martijn 'Tinus' Konijnenburg, aka Goldkimono.
Address: Oostelijke Handelskade 751
Programme: <a href="https://www.linkedin.com/events/adnightxcoded-azurcreativetechn6979029658767872000/about">https://www.linkedin.com/event...</a>
Dentsu Creative Amsterdam – Konnichiwa Gameshow!
The theme at Dentsu Creative Amsterdam (aka TAFKAD, or The Agency Formerly Known As dentsuACHTUNG!) will be the mysterious and exciting game of 'Ganbaru' which means 'determination’ in Japanese:
‘If working in advertising was a Japanese game show, you’d get a golden egg that represents your ‘golden idea’. And to win, you’d have to reach the finish line still holding your golden idea…Ganbaru!’
Intrigued? Go and see Dentsu Creative Amsterdam!
Address: Moermanskkade 85
Dept® – Behind the screens
Technology is increasingly 'infiltrating' and playing an important part in our daily lives. B Corp Dept® - with more than 3,500 employees in more than 30 locations on 5 continents - will let visitors look 'behind the motherboard':
‘Step inside our motherboard to take a look ‘Behind the Screens’, and explore the blurred borders between the physical and digital. Float through an infinite dimension of data to discover its endless possibilities. Expect edgy performances and experiences. Get yourself warmed up for the algo-rave – a boogie to the rhythm of live coding - and many more unexpected ways to awaken your senses and (re)spark connections.’
Address: Generaal Vetterstraat 66
Programme: <a href="https://www.linkedin.com/events/dept-xadnight-behindthescreens6974996443409346561/about">https://www.linkedin.com/event...</a>
Media.Monks – MMultiverse: Everything, Everywhere All Ad Once
At Media.Monks - with 9,100 employees and 57 offices in 32 countries - the focus will be on digital innovation and topics like the metaverse. Visitors will be invited to enter the Monastery's Multiverse:
‘Discover and explore the Monks’ universe, and see how creative ideas take many forms within our various social, film and experiential departments. Each universe will be represented by installations, ambient media and pure entertainment. For one night only, access the MMultiverse and discover: Everything, everywhere, all Ad once!”
Address: Danzigerbocht 41C 
Verve – Buried Treasures
And finally, digital branding agency Verve - with offices in The Hague and Amsterdam. They have recently joined United Playgrounds (UP) - a network of agencies offering services at the cutting edge of creativity, technology and data. They are sharing previously 'killed' ideas and giving them a new lease of life:
‘It happens to every creative: having ideas – often great ideas – that for one reason or another don’t see the light of day. It’s a crying shame!’
During ADNIGHT Verve will dust off these treasures and give them the TLC they deserve. One of the speakers: Kirsten Swensen who worked at WeTransfer for clients like Netflix and Gucci. In addition, designers - irrespective of age, gender, race or experience - can present their portfolio. There will also be screen printing of T-shirts - nice give-away!
Concluding the Verve night with drinks, DJs and dancing on the roof terrace - before the afterparty in Paradiso kicks off.
Address: Archangelkade 30B
The Dutch Digital Design route:
Start with an Uber, e-bike or, better still, an old-skool bike at:
Dept® in Amsterdam-Zuid at the Schinkel business park
Then go north, straight up to the Houthavens, where you’ll find Dentsu Creative, Media.Monks and Verve
Then it’s across the top, behind Central Station, to code d'azur on the Oostelijke Handelskade
Next get yourself to the centre of Amsterdam, to Adventure Club at Herengracht 444, around the corner from Koningsplein
Before finally screeching to a halt outside Paradiso on Leidseplein for the after-party
Main programme
<ul><li>ADNIGHT Talent Program 'Way in' at Paradiso - with panel talks and personal stories about how people got into the industry - read more <a href="https://www.adformatie.nl/bureaus/adnight-opent-met-talent-program-way">here</a>, in Dutch: 3-5pm</li><li>All agencies are open from 6-11pm</li><li>ADNIGHT Afterparty in Paradiso – with DJ SP, Angelboy. Flexican, Lil' Vic (formerly vic crezee), Oishï, Eileen and MC VI: 11pm-4am</li></ul>
ADNIGHT costs €25, ADNIGHT plus afterparty €45.

Join the Dutch Digital Design route during ADNIGHT

Dutch Digital Design route during ADNIGHT

Partner in the Spotlight: Rōnin, designed different from the start

Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month we talk with Amsterdam-based Rōnin. Not just another design agency but an independent design agency dedicated to creating amazing, meaningful and relevant digital design experiences. Keith Kornson and Yordy van der Werff - two of the founders and creative partners - chat with us about coming of age as an agency, why the work that they create is ‘designed different’ and, therefore, genuinely distinctive. And they tell us what they believe makes Dutch digital design genuinely distinctive. 
Rōnin 2017
Rōnin was founded in 2017 by Keith, Yordy, Toby Mok and Leon Snelleman. Four blokes with a passion for digital design (including one with a healthy dose of business acumen too) and a background in advertising and graphic design - looking to create a place that didn’t exist just yet. A place where digital would come first and commercial objectives weren’t the only thing that mattered. They were keen to create ideas and concepts that included digital design right from the start. Not having digital design as an after-thought, but as an essential building block in order to create genuinely immersive brand experiences. Driven and dedicated. Idea makers. Concept creators. Strategists. And digital designers. The whole package - from start to finish. Combining technology, craftmanship and a touch of digital geekiness. Meet Rōnin.
Yordy started working in the advertising world age 21: ‘I was playing around with software like Flash, but soon got frustrated with the fact that digital design and interactivity would never get the attention it deserved. Most clients and agencies did not yet see the need to invest in interactive (digital) experiences. At DDB &amp; Tribal I met my fellow-digital-comrades Keith, Toby and Leon. Driven by our passion for everything designed digitally, we started Rōnin. A place where we could create rich experiences that were distinctive and different. Digital product experiences that worked - for both clients and users. But that never lost track of creating an emotional connection. A connection that would make users come back time and time again. Designed beautifully, and with the perfect amount of functionality and relevance.’
Keith adds: ‘Meeting Yordy, Toby and Leon felt like meeting ‘my’ people. People that I connected with - on a personal level, but also on a business level. With a passion for digital design done well. Entrepreneurial. Always thinking ahead of the game and with a true sense of responsibility to deliver in a way that’s relevant, meaningful and pleasing to the eye. Our ambitions were, and still are sky high. 
We met in Loetje*, got Leon to put a business plan together, and that was the start of Rōnin (the simple version). Initially we were invited to work alongside other agencies, to create the digital part of an overall experience. However, this wasn’t enough for us. As said before, we were keen to be the idea makers, concept creators, strategists and digital designers of the whole (digital) experience, not just part of it. We started pitching directly, and soon word got around that Rōnin was the place to go for incredibly cool digitally designed experiences. No longer were we just there to execute only. We were now asked to think along with clients. To create (digital) ideas that worked - making them tangible and real, and living up to what we promised.’
*Loetje: the place to eat steak in Amsterdam - originally set out as a billiard café but soon famous all over town to eat steak ‘the Dutch way’ - now also in many more Dutch cities and towns. 
Rōnin 2022
Yordy and Keith continue: ‘Fast forward to 2022. Five years later. We have learned a great deal: how to run an agency, how to manage people, how to maintain a healthy work-life balance. You name it. We have gone from three designers and one operations guy to a team of 30+. We had to start clearly defining our roles as founders. I now focus more on the operational and client management side. Yordy is more involved with concept development. Toby is our lead design director and Leon is our operations and finance chief. We have professionalised. We can no longer have a say and be involved in everything we do. It’s like a child growing up: we care immensely, we love Rōnin but we also have to set it free in order for it to grow and move to the next level.
We are now the guardians of the Rōnin-culture. A culture where people are passionate about digital design, and driven. Driven to do a great job and create beautiful, meaningful things. Ensuring that Rōnin is a fun, but also safe and comfortable place to work. A place where people like to be, and stay for a long time.
We do not micro-manage, although it is very tempting at times. Our tasks are now to focus on our business overall, to coach our Rōnins* and make sure they are ok. To get us to the next level by visualising and materialising our plans for the future: to expand internationally and spread the Rōnin philosophy worldwide: ‘Designed different at the speed of culture’.’
*Rōnin: a former Japanese samurai warrior - now without a master or lord. Gaining independence but maintaining and building on the skills and expertise of a samurai.
Designed different at the speed of culture
‘We are different. We design different. We are the odd ones out in a distinctively positive way. We are a bunch of peers that think differently but the same. We look at the world from a different perspective. We want to differentiate and design in a different way. We look at clients and products from different angles.
For example, an e-commerce platform will never be a straight forward e-commerce platform coming from us: it is ‘designed different’. We create interactive, immersive online shopping experiences - bringing a product, a brand to life and creating a true brand culture. 
How do we do this? At the speed of culture.
We make sure that we are aware of what is happening in the world - not only from a work perspective but also from a news/life/cultural perspective. As a Rōnin you know what is going on in the world. What users like or dislike. What is relevant in the world of your user. We talk about this and we encourage people to read. To read about trends - design and user trends. We visit museums. We all recently went to Barcelona - after a long period of not being able to physically go anywhere - and asked what inspired everyone. 
We also organise interactive sessions and workshops. For example, as a retrospect: to look how - together - we can improve certain projects, ways of working, etc. We have now turned this into a monthly ritual, and called it ‘Rōnin Unplugged’. We always try and involve everyone - if and when possible - so everyone feels responsible for making decisions that involve working at Rōnin.’
Dutch digital design: genuinely distinctive
‘Through our open and pragmatic culture we are able to create and design - taking different views into perspective. We listen and are able to take criticism in order to improve - as long as it is constructive criticism. This often results in genuinely distinctive and well-designed stuff.’ 
Rōnin: official Dutch Digital Design partner agency
‘For us, Dutch Digital Design is a community of peers and like-minded creative people - even though we might be playing in the same league. We share knowledge with each other, and the world. It gives us an opportunity to talk with other digital design professionals, and offers us a platform to share our vision and work on an international level.’

Partner in the Spotlight: Rōnin

Partner in the Spotlight: IN10’s DNA 
= positive change

Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month we talk with Arno Wolterman - creative director and partner - and Ferdy Pullens - lead designer - from IN10. IN10 is a design and innovation agency based in Rotterdam. Their daily mantra: Let’s design for positive change. The subject of our conversation. What it means to them. How it affects the way they work and the clients they work with. 
A brief introduction
Ferdy has worked at IN10 since 2020, and was previously at digital agencies Fabrique and Momkai. He believes that design needs to do more than just have an aesthetic value. This is intrinsic to him as a designer. A design needs to be relevant. It needs to make things better. His approach is holistic - from strategy to development. Always wanting to tell a complete story. Ferdy studied digital design at the University of Applied Sciences in Utrecht and graphic design at the Academy of Art and Design St. Joost in Den Bosch. Giving him the tools to combine both worlds of art and innovative technology in his day-to-day work. 
Arno is one of the founders of IN10 which they started in 1999. At the time one of the first agencies to focus on helping brands make their first steps towards a digital transformation: a solid digital strategy always the basis in order to connect people and brands in a relevant way. Arno provides a creative vision that lives and breathes positive change - something he truly believes in. Both at work and at home. He studied design, including design management. The principles of which he still applies in his role today - looking at all perspectives of design that lead to innovation. Optimising all touchpoints and processes in order to create a customer journey that is human-centred and holistic. Arno is all about solution-focused, positive thinking.
Positive change as a rule
‘Positive change is all about wanting to do good for humankind and our planet. The world and all its inhabitants face so many challenges nowadays. We - humans and businesses - must do more to help solve these challenges, and approach things differently. From healthier and more sustainable living to a more inclusive and diverse society. 
We, at IN10, want to trigger change. This is something that is intrinsic with us as an agency. It is time to start acting as we are supposed to. The way we currently live is not sustainable, or normal for that matter. We live in a society of excess. Our focus is to contribute to changing society to a society that is healthier in every sense of the word. Whether we’re talking about a healthier lifestyle through sports and food, making the world more accessible for all, or making sure our planet is still a happy and healthy place to live for generations to come. 
Change needs to happen. This also means changing our norms.’ 
Positive change for your brand
‘We want to help clients and brands make a positive change - big or small. Inspire them to look at their brand differently, and possibly make it more relevant in today’s world. 
As an agency we welcome everyone who wants to be part of this change. Clients and talent.
Together we look for solutions that could make things better. We are not just in it to make things look beautiful: they need to be truly beautiful and relevant for both brand and user. We want to help and guide clients to focus on their moral compass, and translate this into tangible customer experiences that are relevant to the customer but also the brand. 
For most companies, positive change is already an important point on their agenda. For example, a growing number of companies are becoming certified B corporations. Meaning they are doing more than just making a profit. They prioritise people and our planet in everything they do. At IN10, we want to help them with this, and, at the same time, help them connect their brand with their customers. 
In the end, a brand, a business, a person can only contribute to positive change in a credible way if they truly believe this is the way forward. It needs to be intrinsic to their brand, their way of doing business and way of living. That is what makes positive change happen.
Of course, there will also need to be a healthy balance between a brand’s commercial purpose and its desire for positive change. However, we feel that this can be a win-win situation. Creating a customer journey and end product that has more relevance to its user will create a healthier brand - both commercially and image-wise. 
You need to start somewhere, and every little step helps. To start thinking about positive change and how this could positively affect your brand, but also the world, is a step in the right direction - for both business and society.’
Positive change at IN10
‘Naturally, IN10 is a great place to work. Hierarchy doesn’t exist here. And we have a fantastic bunch of clients. 
But how do we make positive change happen within the agency? It just happens. It is intrinsic to our team spirit - through our work and agency culture. It is something we all believe in. This is what makes us tick. You could almost say that we do not even have to think about it. We simply embrace it. It is part of our DNA - on a personal and work level.
Every project we work on, we collaboratively think how we can make it relevant to the end user, the brand and, ultimately, the world.
We also look at the way we work with an open and positive attitude. Already prior to the COVID-19 pandemic, we realised that a more flexible way of working was the way forward. Activity-based working recognises that people perform different activities in their day-to-day work. Therefore, they need a variety of work settings to carry out these activities effectively. This means that, at IN10, you decide whether you need to be present at the agency, or you need to be at home - or even your holiday home - in order to be more focused. Whatever makes you more productive and inspired.
This creates mutual trust, and encourages people to give their best.’
IN10: a Dutch Digital Design partner agency
‘Dutch culture - though famous for its openness - is often described as ‘doe maar gewoon, dan doe je al gek genoeg’. Or in English: ‘just act normal please, that’s crazy enough for us.’ This is the Dutch way of being modest: not necessarily wanting to be in the spotlight. 
We feel it is time to put Dutch digital design agencies in the spotlight. To share our way of thinking, our digital strategies and technologies. Dutch Digital Design is a great platform for this. It gives potential clients and customers easy access to a group of creative, digital peers that you can trust and rely on to create great digital experiences.
Dutch Digital Design is a portal to amazing Dutch digital design.’

Partner in the Spotlight: IN10

Partner in the Spotlight: International ambitions - with Verve

Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This time we talk with Verve (formerly known as Vruchtvlees) - recently awarded European Agency of the Year 2022. A digital branding agency where designers, developers and strategists holistically transform good brands into great ones. Based in The Hague (Den Haag) and Amsterdam. Roman Stikkelorum, managing director, chats with us about their international ambitions, the Verve culture and values, and being a Dutch Digital Design partner agency. 
From Vruchtvlees to Verve
‘In the Netherlands we have a rich design history. Fifteen years ago, Vruchtvlees wanted to take Dutch design to the Internet - crossing into the digital realm.’
Roman Stikkelorum, Rindor Golverdingen - creative director - and Michael Danker - digital director - started the agency about 15 years ago whilst all studying at the Royal Academy of Art (Koninklijke Academie van Beeldende Kunsten) in The Hague. Initially as part of their studies, earning them some course credits. However, it soon developed into a serious business: Vruchtvlees - putting their graphic design and typography skills to work. The projects soon stacked up: from designing t-shirts to building websites. Fast forward seven years - their focus shifted to digital first and the cultural sector. In 2018 they reached a milestone by becoming the European Agency of the Year. It was their international breakthrough and start of their international ambition to become the best branding agency in the world - with great international clients and an ambitious, diverse workforce. Meet Verve.
‘In a world where it is accepted to work remotely, the world has become smaller and, therefore, more competitive. Consequently, brands, agencies and talent need to stand out more to differentiate themselves from competitors. We need to create experiences that are unique and distinctive in order to create an emotional connection. We look at a brand holistically - ensuring all touchpoints are connected and making it whole.’
What’s in a name
‘Considering our international ambitions, having a name like Vruchtvlees wasn’t the most practical. As part of our global strategy, we started looking at a name change. A name that would reflect our vision and aspirations, as well as our passion and way of working - without letting go of our Vruchtvlees heritage. 
Verve did it all. Using the same letters as in Vruchtvlees. The iterative sound of the two Vs. Something we could re-create in the typography. But that wasn’t all. Verve translates the same in both English and Dutch: to do something with verve (NL: iets met verve doen). To tell a story, to do something with enthusiasm and passion, with skill and expertise. To be ambitious, inspired and dedicated. A perfect reflection of what we stand for here at Verve.’
International ambitions
‘Becoming the European Agency of the Year in 2018 gave us more visibility on an international level. We acquired more international clients. One of our first international clients was Miro - originally called RealtimeBoard - an online collaborative whiteboard platform that enables teams to work together remotely, anywhere in the world. Originally a start-up from San Francisco, now a multi-billion dollar company. We were asked to help them create a new brand identity and strategy to reflect their new name and ambitions. It helped them move from 2.5 to 30 million users worldwide.
This was truly inspiring for us, and gave us aspirations to do the same: grow internationally and be the best. Our new name, proposition and international strategy reflect this. It has become our self-fulfilling prophecy, because we believe and anticipate it will come true, even though it might start with just a dot on the horizon. It is our Big Hairy Audacious Goal (BHAG).’
Turning ambitions into reality
‘How can we turn our international ambitions into reality? How can an agency in a small country like the Netherlands create work that is understood and loved all over the world?
I believe that we make this happen by having a multi-national, diverse team that represents different cultures and different ways of thinking. We currently have seven different nationalities within our team - with a 60% female/40% male split. Naturally, we will continue our search for talent that is representative of our culture and values. Talent that is passionate, ambitious and an expert in their field of work.
Also, we have clients in 12 different countries, including Nigeria and several Nordic countries. Our close collaboration with these clients provides us with insights into different cultures and ways of working.’
Culture and core values 
‘Here at Verve we work with multi-disciplinary teams. English is our main language of communication. Each team has their own lead for each specific area. For example, a brand design lead and strategy lead. Giving each team full ownership and responsibility, and making our management style and culture less top-down. 
We also organise events like ‘Killed Darlings’ where we share loved concepts and designs that didn’t make the cut and ‘inspiration presentations’ on specialist subjects like typography. All our employees have a ‘museum jaarkaart’ - an annual pass for free access to Dutch museums.
Woven within our culture are our core values: Sense, Challenge and Love. 
Sense is all about being empathetic and aware of what happens in the world around us. What is relevant to us, our clients and their customers. Being curious.
Challenge each other in order to keep growing and learning.
Love for everything we do. We are all obsessed and in love with our craft.
These values are represented in everything we do, in each team - on every level. It’s our culture. As once said by a famous management guru: ‘Culture eats strategy for breakfast.’ Meaning that an empowering culture is a surer route to success.’ 
Dutch Digital Design and Verve
‘With Dutch Digital Design we are able to move Dutch digital design to the next level - globally - together, as a community. Creating more visibility through events and thought leadership content - sharing knowledge, and inspiring and attracting talent internationally.’

Partner in the Spotlight: Verve

Partner in the Spotlight: diverse and inclusive with Bravoure

Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month we talk with Bravoure. A digital design agency based in Amsterdam and focused on helping their clients build relationships through digital platforms. Jeroen Disch, design director, and Matthijs Tielman, strategy director, talk with us about what Bravoure represents, why diversity matters - both in the workplace and in the work they create - and being a Dutch Digital Design partner agency. Time to meet Bravoure.
bravoure (noun: Dutch/French)
1. self-confident display of skill
2. bravery, courage
‘At Bravoure we dare to be different, together.’
Bravoure creates digital platforms that offer unique experiences. Experiences that connect with and touch visitors: designed to build long term relationships. 
‘Digital platforms form the basis of our clients’ entire communication strategy. They never act as a stand-alone. We always consider all available communication channels, and how they interact. This also enables us to gather data continuously, in order to learn and improve.'
Introducing Jeroen Disch, Matthijs Tielman and Kim Krauwel
Jeroen has been at Bravoure since November 2021. A relative Bravoure-rookie. Previously Jeroen worked at digital agency GRRR as lead design. He is also the author of Halfvet, a bi-weekly online newsletter where he writes about his passion for branding, UX and typography. For Jeroen, it’s all about brand thinking and creating digital identities and experiences that make a brand stand out from a crowd, and connect with its users. Building ecosystems where all elements and touch points work together.
Matthijs joined Bravoure in March 2022. Another Bravoure-rookie. Matthijs loves delving into the magic of brand strategy, content and what stories make a brand unique. According to him, perfect branding is about interacting and connecting with users. He believes that users will come to you automatically if there is a genuine connection. A connection driven by bespoke content and easy-to-use, inclusive digital environments. Before Bravoure, Matthijs worked at Wayne Parker Kent - an Amsterdam-based advertising agency - as head of strategy. He was also the founder of a web shop with a collection of bags and accessories for men, and hosted the popular podcast ‘The Brief’ for a few years.
Kim Krauwel is managing director of Bravoure since 2018. We didn’t talk with Kim in person, but spoke about Kim and the difference she is making by leading Bravoure. In a world where there is definitely a positive move towards more leading ladies, but where there is still a lot more room for improvement when it comes to diversity and inclusion.
A different perspective
‘By having Kim in charge, there is a different perspective on how to do business, the way we work internally, and what talent we want to attract. There is definitely no room for macho behaviour - something we call ‘haantjes-gedrag’ in Dutch. We encourage everyone to be themselves. No need for anyone to feel that they have to be aggressively assertive in order to make an impression. It is important for us to create a safe working environment - through coaching and inclusive leadership. 
To drive change with regards to inclusion, it is important for people to be able to recognise and identify themselves with other people and roles within a working environment. Hopefully Kim sets an example for other women in the industry. Having her lead a digital agency sends out the message that it is possible to make an impact within the agency world, and to make a difference as a woman in charge. 
We also started to look for talent in a different way - by using a different tone of voice and being more proactive. Creating different personas that allow for a different, more inclusive and identifiable approach. Our objective is to always have a work culture that truly represents society and all its different visions, views and opinions. This enables us to create diverse experiences, and will not only make us more diverse as an agency, it also allows us to build digital ecosystems that will be more successful commercially.’
Creating diverse and inclusive work
‘Naturally, it is our intention to create diverse and inclusive work. However, this also depends on our clients. Different clients are at different stages of the diversity and inclusion process. It is our role to educate our clients about the importance of creating diverse and inclusive work. As mentioned before, it is important that users/customers recognise themselves in the experience we offer them. The more they connect, the more successful an experience will be. In the end, this will also be more commercially viable for our clients.
We guide our clients by creating different personas that reflect the world we live in: describing how each persona interacts and connects with the brand. It is our responsibility to build a bridge between the brand and each user. To fully understand the users’ needs and values. 
Being diverse and inclusive will make a brand more accessible. Accessibility means that a larger audience can understand, navigate and interact with your platform: enabling everyone to be active, contributing members of the digital world. Accessibility is necessary for some, but beneficial to all. It will make your digital platform SEO-friendly, load faster, and your code future-proof. You also comply with (future) digital regulations. 
It is essential to go back to the core - of a brand but also of a user. To truly immerse yourself in the user. The more inclusive you make an experience, the bigger the reach.’
Being a Dutch Digital Design partner agency
‘It is inspiring to be amongst a group of creative, digital peers. To be able to use them as a sounding board. To gauge where digital design and technology is going. To experience different definitions of what (Dutch) digital design is all about.
This is also important when it comes to diversity and inclusion. Together, as an industry, we can strive to be even more impactful, and create goals and policies together - on a bigger scale, with a bigger reach. As Dutch Digital Design we have the possibility to create more awareness, and continue to challenge our partners, our clients and society. Making sure that we keep the discussion going.
We need to be the change we want to see - individually, but also as an agency or Dutch Digital Design.
On a more practical note, we would also like to see Dutch Digital Design as a platform where we can share views and ideas on technology, specific themes and thought-leadership. A knowledge sharing-platform where we have the opportunity to learn from each other and truly connect.’

Partner in the Spotlight: Bravoure

Partner in the Spotlight: the Adventure Club culture

Each month we introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This month we talk with Adventure Club - a design and innovation studio based in Helsinki , Amsterdam, Turku and Berlin. Tjeerd van Lotringen, managing director, and Mario Porpora, design director - both based in Amsterdam - chat about who Adventure Club are, why it is time to move to the next level, and the impact of (digital) design. Let’s meet Adventure Club Amsterdam.
A quick introduction: Tjeerd Lotringen and Mario Porpora
Tjeerd joined Adventure Club Amsterdam as managing director at the start of 2022. He has an affinity with the Nordics, and worked in Copenhagen for three years. No surprise that Tjeerd was keen to head up Adventure Club Amsterdam with its Finnish roots. Being surrounded by a multi-national bunch of creatives inspires him. He previously worked for VICE Media. 
Mario, who has worked for Adventure Club since its early beginnings in Amsterdam, finds a great sparring partner in Tjeerd. Originally from Italy, with a degree in data visualisation and roots in graphic design, Mario lives and breathes Adventure Club Amsterdam. Loving the firmly rooted design culture in Amsterdam and the Netherlands.
Together with the team, they are working on and driving their ambitious growth plan, focusing on further developing and sharing their international culture of creativity and digital ambitions - innovative and bold: truly establishing the Adventure Club culture and moving Adventure Club to the next level.
Tell us more about Adventure Club
‘We are an adventurous crowd, always looking out for our people, our clients and our planet. We are not scared to get ourselves out there to explore new routes. New routes of creativity and digital technology. Having this great international mix of people enables us to do just that - mixing up different cultures, views on the world and personalities. An international playground where we experiment, create and innovate. We have our own rules and ways of working - always involving and collaborating with our clients. This way we build innovative and impactful adventures. 
Also, our Finnish origin combined with our office in design-oriented- Amsterdam makes for an agency that wants to create a positive impact - on the planet, business, brand, but also on (digital) design. It is in our DNA. On top of which, being based in Amsterdam makes us more central to many clients and talent.’
Digital adventures
‘Our digital adventures are always human-centric. Humans are driven and inspired by great narratives. We are digital storytellers who cultivate stories that define a brand message and connect with people. We determine which narrative is the right one for both brand and user. We determine how to narrate a story: what digital tools to use to tell a story in the most effective and impactful way. Always with business, brand and user in mind.
We gather all elements - from ideas and vision to technology and execution - to create digital adventures. A close collaboration between client, techies and creatives. We are in this together.’
Right here, right now
‘Until now we have often stayed behind the scenes - focusing on what matters to us most: to create impactful digital experiences for our clients and their customers. Regularly working at our clients as part of the team - the ultimate in partnerships in order to truly understand the brand, business and customer journey. 
However, we now feel it is time for us to show and share our more independent side, our own Adventure Club culture. Bold and outgoing. With people from all over the world. Still concentrating on telling impactful digital stories - with a focus on business, brand, user and planet. Sharing our DNA and expertise with the world. Inviting people to join our club and be part of our adventure(s). Moving Adventure Club Amsterdam to the next level.’
Adventure Club’s view on digital design
‘Nowadays we cannot imagine a world without digital. It is digital first. Digital technologies allow us to share intangible information like data in a more approachable format, and reach a large audience. However, how we can make a difference now and create the most impact is by making digital design more human. 
Using digital design as a medium to tell digital stories. Creating an environment - a (brand) culture where people can connect - with each other but also with brands. It is time for digital design to take it up a notch, and add a human touch. Using digital technologies as tools to enable this.
We have recently started a passion project called the Amplify series - a collaboration with Thoughtworks. This is a series of open sessions where we share, discuss and raise awareness regarding the use of digital technologies by designers. Creating an environment where we can interact and exchange opinions and expertise amongst peers - all part of the Adventure Club culture. 
The first session was about AI x design - asking the question whether designers should be afraid of AI, or embrace it.’
The impact of Dutch (digital) design
‘The Netherlands is a breeding ground for design. All types of design, not only digital. People love to come here for inspiration. Also, it is a country where it is relatively easy for people to integrate. It is an open and welcoming culture. Also for designers. 
Furthermore, the Dutch attitude towards work and life is a healthy one: there is life outside work. This, in general, makes for happy people. Happy people create better work.
Also, the Dutch attitude to design is almost always functional. This attitude contributes to the fact that Dutch digital design is at the forefront of digital design. There is a genuine interest in technology in order to make things work (better). This naturally includes digital technologies. Many digital tools are created here in the Netherlands. Look at the Blender Foundation, Framer and Sketch. All created here in the Netherlands. With that same open(-source) attitude.
Adding these things up, it makes sense that the Netherlands is a top destination for designers from all over the world. Creating an environment where ideas are developed looking at different perspectives, cultures and backgrounds. An environment that breeds inspiration, diversity and inclusivity. A perfect place to be for Adventure Club.’

Partner in the Spotlight: Adventure Club

World Earth Day 2022: ecological artist 
Thijs Biersteker

Friday, 22 April 2022, is World Earth Day. This year’s theme is ‘Invest in our Planet’. Encouraging individuals, businesses and governments to invest in technologies and practices that can benefit the Earth. We, as a foundation, share Dutch digital design using innovative technologies to create immersive experiences. One of our main pillars is sharing digital work that does good - considering planet and people. Therefore, on this World Earth Day, we would like to introduce you to Thijs Biersteker - a Dutch ecological artist - whose main focus is to raise awareness about environmental and health issues that need urgent attention - from Thijs’ point of view, but also scientists’. Dutch Digital Design had a look around his inspiring Woven Studio - including a first: his art installation inspired by and created for this year’s World Earth Day, MB&gt;CO2. Of course, we also had a chat with the man himself. For Thijs it is Earth Day every day.
Where and how did it all start?
Thijs is from a town in the North-Western part of the Netherlands. Close to the sea. This is where his passion for the planet started. Being a keen surfer, he quickly became aware that we weren’t looking after our planet as well as we could: ocean plastic was everywhere. This was also one of his first works: raising awareness about marine plastic pollution.
After having attended the Willem de Kooning Academie - an international academy of media, art, design, leisure and education based in Rotterdam - and a brief spell in advertising, Thijs realised that he wanted to reach and connect with people. Reach people with work that isn’t just pretty but communicates to and with people. Work that makes you think, feel and do something - through physical interaction - enabling you to fully immerse yourself and make you aware. 
‘To realise that the way we are behaving is not sustainable - not for the planet, but also not for ourselves and our mental health.’
Thijs is also a lecturer at Delft University of Technology and the Vrije Universiteit Amsterdam, and the founder of Woven Studio.
What drives Thijs?
‘Facts, newspaper headlines, data and frustration. I wonder why I do not know about certain environmental and health issues, and am absolutely sure that most of the world doesn’t know about them either. Therefore, I feel it is my duty to raise awareness about these topics, and turn them into tangible experiences. Creating emotional connections: making people feel, think and, hopefully, act.
My approach is either romantic or pragmatic. I always want to get an important message across. Sometimes this is done in a beautiful, aesthetic way to really connect with people. Other times there is no other way than to expose the blunt facts and open people’s eyes.
The aesthetic element will attract people, make them come together and talk. That’s exactly what I want: for people to talk about these incredibly important environmental issues.’
The birth of an immersive art installation 
‘It all either starts through my own findings - but always based on facts and data - or I am approached by scientists and organisations like European Space Agency (ESA), UNESCO, and universities around the world. Together, we go on a fact-safari - looking at how to make the data visible.
Data makes things insightful. It is for me to translate and visualise these complex data streams into tangible and immersive experiences - for everyone to understand. Together - scientists and me - hope to make science and data more accessible this way, and, therefore, to raise awareness about issues that people otherwise wouldn’t know about or understand.’
Woven Studio: a sustainable art studio
How to balance the message that Thijs wants to get across with the creation/production of his actual art installations and the use of sustainable materials and technologies?
‘It is practically impossible to create anything without having some sort of environmental impact. However, here at Woven Studio, we will do our utmost to be as sustainable as possible. All my art installations are accompanied by a materials passport - detailing exactly what it has been made of and how it can be recycled. Anything we create is produced in a sustainable way. 
We sourced the location of our studio ensuring that we can get most of our materials locally. Our studio is part of a large make/creator community called De Hoop, situated in an old cardboard factory. 
None of our installations are created to be sold or be part of the art market where art is seen as a commodity. We create these installations to raise awareness about environmental issues that matter. After a certain period of time the art work will be taken apart and recycled. That is sometimes hard, but is also what I represent: sustainable, impactful art installations with the smallest environmental footprint.
This way we’re hoping to balance creating positive impact vs negative impact.’
A few of Thijs’ current immersive and interactive art installations:
World Earth Day: launching MB&gt;CO2
'The rise of online interaction and AI is called the 5th industrial revolution. We should not make the same mistake as in the last industrial revolution that was powered by pollution.'
Whilst the world came to a standstill due to the COVID-pandemic, we were all using more data during each lockdown. Only a few people realise that using (mobile) data/MBs also increases CO2 emissions: 1MB = 20 grams of CO2.
MB&gt;CO2 shows what impact this has on the planet. The spectator will see how visitors Zoom into the art installation. Every time somebody interacts with MB&gt;CO2, their data usage is tracked back, their carbon footprint calculated and translated into puffs of CO2 blown into the living biotope. Revealing the hidden impact of the Internet, and showing that we need to move on to sustainable data usage. Wither
Wither is a beautiful art installation raising awareness about the rapid deforestation of the Amazon rain forest using data provided by scientists working for UNESCO. The data provided maps the deforestation within the rain forest. With this data, Thijs and his team visualise the rate at which deforestation happens right now - creating an eye-opening art installation: every leaf ‘disappearing’ marks the loss of 128m2 of rainforest. The artwork is changing every time new data comes in. Bringing the data to life right in front of your eyes - truly impactful.

World Earth Day 2022: Thijs Biersteker - ecological artist

SXSW: 'The Future of Experiences' presented by Dutch agencies

After two years, Dutch Digital Design was back at the SXSW stage with six representatives of its partner agencies. ‘The Future of Experiences’ was an afternoon full of inspiration, where speakers shared their views on the future and developments of interactive experiences, such as the metaverse.
Almost 200 visitors attended the event on 14 March at the grounds of the famous South by South West (SXSW) festival in Austin, Texas. Dutch Digital Design is a regular host at SXSW and it surely made a great comeback this year as the festival went back to its original physical format. See <a href="https://www.facebook.com/media/set/?set=a.5155948337800371&amp;type=3" target="_blank" rel="noreferrer noopener">some pictures here</a> and a great <a href="https://vimeo.com/692989963" target="_blank" rel="noreferrer noopener">video with a recap here</a>. Part of the Dutch trade mission The Dutch Digital Design event was part of the Dutch trade mission New Dutch Wave, which was supported by CreativeNL. The session was moderated by Claartje Vogel (journalist) and Bert Hagendoorn (Dutch Digital Design). At the start of the event, the Dutch strength of collaboration with each other was emphasized. Examples included this very event, the work of the Dutch Digital Design foundation, the trade mission, and various collaborations with other missions. Six speakers presenting Ruben van Bambost (Fabrique) kicked off the day by using examples to discuss the opportunities for design that is better suited to people. He was followed by Esther O'Callaghan (Hundo), who talked about the future of working, Generation Z and the metaverse. Dani Polak (code d'azur) presented how combining creativity and technology can bring magic to projects. Cees Dingler (Capitola) showed strong examples of the possibilities with AR and VR. Arne Koefoed (Wink) presented the Feelgood Fireworks project and his view on future experiences, after which Viet Hoang (Your Majesty) discussed the future of fashion in the metaverse.
Panel and networking The second part of the event was a panel that further explored the topic. Led by Claartje Vogel, it included panelists Karlijn Marchildon (VanMoof), Constantine Gavrykov (Adidas), Michael Valentin (of Danish agency Signifly) and Mia Berggren (leading Swedish agency North Kingdom). They shared take-aways from the presentations and their own views on the future. The day concluded with a networking reception with all attendees.
Dutch collaboration New Dutch Wave presented itself this edition in the form of a touring company, which makes it easy to connect with international visitors. In order to realize this, New Dutch Wave worked closely with fellow international delegations from Germany, Austria, Denmark, UK and Canada. This led to a multi-day programme with numerous events, in which Dutch participants could connect with each other, but especially with international contacts.

SXSW event: The Future of Experiences

Partner in the Spotlight: Resoluut creates 
New Emotions

Each month we will introduce you to one of our partner agencies in Partner in the Spotlight. Giving you a look behind the scenes. Sharing some Dutch digital design insights. Or telling you about something that they believe the world needs to know. This is our first edition and Resoluut’s turn. Resoluut is a strategic design agency, specialising in strategy, visual identity, experiences and design systems - based in Amsterdam. We chat with Jasper Tempel - creative director and managing partner - and Rory de Graaf - operations director and managing partner. The agency just celebrated their 12.5th
anniversary by launching a brand new identity. A great reason for us to find out what Resoluut is all about. A little more about Jasper, Rory and Resoluut.

Jasper has been at Resoluut since 2017. He joined as a strategist, and is now creative director. Two years ago he was joined by Rory - who looks after their business operations and commercial side of things. They became co-owners in 2021. Ready to take the next step for Resoluut.
As a strategic design agency, Resoluut’s mantra for just over 12 years was digital first: bringing brands to life digitally. Creating digital products that are functional but also bring the brand’s personality to life. At the time this was a good starting point as it reminded brands to consider digital right from the start - as part of a complete brand experience, not just as an after-thought. However, as times are changing and digital is no longer new to the world, it is time for Resoluut’s next move. 
Now let's Jasper and Rory do the talking:
From digital first to new emotions.
'Digital is still incredibly important, and functionality still key. However, people expect brands to offer more than functionality and convenience only. People want to connect with products and brands that they can relate to. They are looking for an emotional connection. So, what do we need to do in order to create an experience that’s unique and connects with people emotionally? Why would people remember a brand, service or product? 
A brand needs to share with you who they are, showing you their personality. They need to make you feel. They need to connect with you. On every level. 
It is our job at Resoluut to help brands create an emotional connection. To find a balanced interaction between convenience, functionality and emotion. This interaction will create a brand/user/customer experience that stands out. Authenticity, transparency and honesty are all key to creating such an experience. 
Together we will trigger emotions and bring a brand’s personality to life. Creating emotional connections and, subsequently, building sustainable relationships - with customers and workforce.' 
New emotions
'We, at Resoluut, are ready for a new step in our design agency career, and want to share this with the world. Who we are and what we do. We are open and transparent, determined and strong, empathetic and passionate. We listen. Connecting emotions and functionality, in order to create new emotional experiences together.
Our new identity represents this: minimalistic - when we need to be in order to put our clients’ personality at the forefront, strong and determined - when we represent ourselves. Dynamic - to show and share that we know how to create different types of emotion. Still and always Resoluut.
New emotions are also present when clients approach us to take a new step. Together we explore what feelings and emotions are triggered - to take it to the next level.' 
Resoluut’s view on Dutch Digital Design
'Like Resoluut’s work, most Dutch digital design is open and transparent as well as functional. Functional design is always our base. From that starting point, we experiment to create something new. It is never just about aesthetics. Also, our Dutch determined and down-to-earth attitude gets us far. We are never shy to experiment and share those experiments with the world. We like to interact with people. Probably because we are a small country. A small country that plays a big role in the design world. Something to be proud of.
Dutch Digital Design - the foundation - give us and other digital design agencies a platform to share our work with potential clients, and to attract up-and-coming talent - globally. It is also a great platform to share experiences and knowledge with peers. Together we can share Dutch digital design - at home and abroad.'

Partner in the Spotlight: Resoluut

Nicole Pickett-Groen: European Design Awards jury member

We are very proud to announce that we have our own European Design Awards delegate this year: Nicole Pickett-Groen - our lead editor and copywriter. She has been invited as a digital jury member. Therefore, a perfect moment to have a chat with her.
The European Design Awards are about celebrating European design - including distinctive, regional aspects, as well as common elements that unify design across Europe. The European Design Awards wrap up with a festival in a different city every year, leading up to the awards ceremony. Creating an ideal opportunity for all creative people within our European community to come together - to be inspired and celebrate. The festival will hopefully take place in Tallinn, Estonia, in June this year. 
Who is Nicole Pickett-Groen?
I am the lead editor of Dutch Digital Design, and also a bilingual copywriter who started her career in London. Now living in the Netherlands. I write (social) content, articles, blogs and loads more - for big and small clients. In both English and Dutch. I strive for quality in everything I make. Enthusiastically. With an eye for detail and creativity. Also a good sounding board when it comes to strategy and brand experience. And I love dancing - everywhere, but currently mostly at my own home - to the embarrassment of my two kids. 
How did you react to the invitation to become a jury member for the European Design Awards?
Whoop, whoop and supercool. 
I was contacted by Demetrios Fakinos, the managing director of European Design Awards. When asked whether I would be interested in being a member of the European Design Awards digital categories jury, I was very excited and also honoured. I always hear and read about awards, awards nominations and people being jury members for these type of events. I write Dutch digital design cases about amazing digital work that has won awards. But never did I think I would be a jury member myself one day: I am not usually in the spotlight as a writer and editor. But this time it really is my turn. 
What will your focus be while judging the work submitted?
As the lead editor and writer of Dutch Digital Design I explore and am exposed to a lot of beautiful digital design work. I get to collaborate with the creators of this work. At Dutch Digital Design we scout and select new work that we promote through our Dutch Digital Design channels. We are on a mission to share Dutch digital design with the world. Like European Design Awards, we celebrate the best digital work out there - created in the Netherlands. Always considering our three pillars: originality, craft, and positive impact on society. All of these factors count, but not every case has to excel at all three. 
This approach and also my exposure to other great digital work - through my work for other (tech) companies, will hopefully give me a good basis to ‘judge’ all the beautiful work that has been submitted. Considering new technologies, but also strategies with regards to diversity, neuro-diversity and equality. Whether it is designed for the greater good. With people (and brands) in mind. 
One thing counts for sure: the work has to stand out. 
What kind of work do you expect to be exposed to during the judging?
That’s a tricky one. This is the first time I am part of such an event, even though I am involved in a similar process at Dutch Digital Design. However, the world has come to a bit of a standstill over the past 24 months, and people had to re-focus on what matters to them. This also meant I haven’t been looking and travelling around as much as I am used to. I have seen many impressive digital initiatives with regards to the COVID-19 pandemic: great selfless, pro-active initiatives. At the same time, I also saw the need for distraction, for beautiful things, for a little light at the end of the tunnel.
Therefore, I hope to see work that does all of that, and what I mentioned previously. For the work to be designed for the greater good. Whether with a serious undertone, beautifully crafted, or extremely entertaining. Making use of new technologies, suiting the purpose. 
As the lead editor of Dutch Digital Design and copywriter, you write a lot about digital craft: what are for you the most interesting tendencies happening in digital design right now?
I am intrigued by the use of data in digital design, and across brands and companies. A more thorough and creative use of data. Not just for the purpose of the brand or business, but again, with people in mind. For it to be more transparent. In order for people to see the need of data, be more willing to share data, and get something in return.
Also, I find the whole diversity discussion an interesting one. How it works for all parties involved. Whether you are the customer/user, a (potential) employee or brand. If done properly, it is a win-win situation for everyone. Involving a diverse bunch of people when creating new products or campaigns, will definitely result in these being better received and understood, and, therefore, also appeal to a wider and more diverse audience. 
What are the chances for Dutch digital designers to scoop an award at the European Design Awards?
I am obviously a little biased. Having worked and lived in London for a long time, I am always very proud to be Dutch. Proud of our small country. A country that still seems to be open to new ideas, opportunities and challenges. I believe that its smallness is exactly the reason why we always had to have an open mind. An open mind that we use well creatively and commercially. Resulting in great design, creative ideas, and businesses. We are not scared to venture out of our comfort zone. I believe that this is also the reason why Dutch digital design is so successful: a combination of our open mindedness, our challenging character and creativity. And even though I might be a little biased, many non-Dutch nationals I have interviewed, have confirmed this. So, yes, I believe we are in with a good chance :-)

Natasha Greenhalgh, Nxt Museum: obsessed with what's next

Exhibiting the art of the future, today. Nxt Museum fuses new technologies with art, science and sound. Activating your body, engaging your mind. It is the first museum dedicated to new media in the Netherlands. We talk with Natasha Greenhalgh, co-founder of this multi-sensory museum. About why she started this museum - together with co-founder and friend Merel van Helsdingen. About the power of art - specifically the art of the future - and what’s next. ‘We focus on art that uses modern tools to embody modern times.’

Natasha Greenhalgh and Merel van Helsdingen. A fierce female duo - creative and entrepreneurial. Natasha, British, studied Spatial Design at the Chelsea College of Art, and has been residing in the Netherlands since 2014. Merel van Helsdingen, Dutch, studied marketing, media and culture, and worked in London for several years. They met at PVH Europe in Amsterdam, one of the world’s largest and most admired fashion companies.
Goal: to create a dedicated space to share and raise awareness around new media art. How it enhances the way we live. How it impacts our behaviour. The power of art

Natasha is a true believer in the power of art. ‘Art is for everybody. It unites and connects. It allows us to question and understand, to voice and to share. It brings people together, and allows us to understand what it means to be human.
Nxt Museum is a space where everybody is welcome. A multi-sensory space where technology and emotion come together. Visitors are invited to engage and interact physically, conceptually and emotionally with the art. A home dedicated to new media art. New media being a broad term. We’re talking about new media of today and the future. Exploring the tools of today, but also the tools of the future. What’s next?’ Nxt Museum in a nutshell

It is almost impossible to describe Nxt Museum in a few words. Nxt Museum is a valhalla of immersive installations, exhibitions and live performances. They also offer public and educational programmes. Sharing and exploring the potential of new technologies, but also the challenges and dangers - on a social and political level. Every exhibition, every theme, every event has a strong narrative and theme - an intention. 
For example, the Zoom Pavilion. An interactive video installation that raises awareness around the continuous surveillance in the world of today. Using facial recognition, blob tracking and subtraction algorithms. An ecosystem of 12 cameras track and categorise the people in the room based on their proximity, projecting them onto life-sized screens. 
The museum is an immersive and interactive exhibition space, covering 2100 square metres, also including Nxt Lab. Nxt Lab is a space for education, research and development, and home to the artist residency programme. Giving new artists a platform where they can test and learn at the same time. 
There is also a platform for innovative performances and audio-visual art: Nxt Stage - with a large wall and floor projection surface - where you can submerge yourself in digital sound and vision. The Rewire Sessions and ADE Air were staged here: a serene mix of sound, digital art and movements - to truly connect with your body. The future

‘I’m obsessed with what is next, with the future.’
Nxt Museum opened right in the middle of the COVID-19 pandemic, and like all other museums, they had to close for long periods of time. However, Natasha and her team never stopped. Always looking for new ideas and ways - new technologies - to get around this. A time to think ahead. About new exhibitions, educational programmes, blogs etc. About how to keep connecting people. Sharing and transferring knowledge.
‘I personally want to explore more meaningful ways to connect the physical and digital. To find a more seamless and intuitive fusion between the two. To break out of and go beyond the confines of screens to activate our bodies and bring people together.
In this increasingly technological world, it is more important than ever that we take the time to understand what it means to be human. Use technology (and art) to celebrate and enhance our intrinsic attributes. 
I am endlessly inspired by the creative opportunities of technology, and the powerful ways in which it can unite and connect. It enhances our understanding of the world. But we must not allow ourselves to be passively seduced (or numbed) by technology. It is equally important to research and show the threats: how it is also used to divide, monitor and control us. 
Technology, and art, should be for the many, not the few. This is why it is so important to improve both tech literacy and access. To make space to question, debate, test and fail. Supporting young creators, developers and researchers. And that we innovate in ways that empowers individuals, unites communities, and enriches and inspires our minds. That’s our mission at Nxt.’
Natasha’s enthusiasm and passion are contagious. The best ambassador of Nxt Museum and its art of the future. We wanted to share her enthusiasm, vision and ideas. However, the only way to truly experience what she and her team represent and want to achieve, is to experience it for yourself. Nxt Museum is open every day from 10:00. Asterweg 22, 1031 HP Amsterdam. Book your tickets online.

Interview Nxt Museum Natasha Greenhalgh

A Creative Jam: 
Talented students 
& digital solutions

Dutch Digital Design, Dutch Digital Agencies and Night of the Nerds put together a Creative Jam for almost 100 talented students. Taking place during the Dutch Design Week at SiNT LUCAS art school. 
Mentored by digital agencies, student teams worked together to come up with digital solutions for the No Waste Challenge by What Design Can Do, an international organisation that seeks to accelerate the transition to a sustainable, fair and just society using the power of design. 
The event was a success. Great to see so much digital talent working together! With three winning ideas - chosen by a panel of experts. 
Every year Dutch Digital Design and Dutch Digital Agencies collaborate to organise an event where talent can connect and network with digital agencies. This year they were joined by Night of the Nerds. This year's contributors: SiNT LUCAS, Night of the Nerds, Valtech, Redkiwi, Dept Agency, IN10, GRRR, Greenberry, Fabrique, Bitfactory, Stephanie Muller, Jacqueline Pijcke, Ronald den Bekker, Ine van Gestel, Dagan Cohen en Jeroen van Erp. Check de DDW creative jam after-movie!

DDW Creative Jam

DDW Talks: Adapted Realities. Full house. Great vibe

On Friday, 22 October, Dutch Digital Design co-organised the event DDW Talks: adapted realities. With partners Serendipity, LUMO Labs, Space&amp;Matter en Adformatie. Full house. Great vibe. 
A selection of inspiring projects were presented relevant to this year’s DDW theme: The Greater Number. Also looking at insights into how we, Dutch Digital Design, agencies and designers can do better: how (Dutch) digital design can contribute to initiating a 'greater number' of changes. Concerning climate, social inequality, conflict, behavioural changes, well-being and health.
We talked with makers and creators - including Harald Dunnink (Momkai &amp; HYMN), ecological artist Thijs Biersteker, Natasha Greenhalgh (Nxt Museum), Maxine Penney (Media.Monks), Martijn Gastkemper (GRRR) and Martijn Smeels (Gemeente Amsterdam). 
All beautifully moderated by Izzy Sayers (TNW, Mischief Makers). 
Thanks to everyone who participated! See you next year!

DDW Talks

The Dutch gaming industry: 
a game changer

Dutch Digital Design celebrates outstanding digital design from the Netherlands. So what is digital design exactly? And can you classify game design as digital design? Digital design emerged in the 1990s as a result of the revolutionary changes in computer technology. So, yes, in our view, game design is definitely part of digital design. You could even say that it was part of the very beginnings of digital design. Computer games were popular before we were even thinking about flashy websites and mobile apps. In this short article we would like to shine a light on the Dutch gaming industry. Because also within this industry the Dutch are known for creating distinctive work. We dare to experiment, innovate and push boundaries. Dutch gaming studios, like Guerrilla Games, are known all over the world. Something we, at Dutch Digital Design, are very proud of. Proud of the amazing digital design we create here in the Netherlands.
Setting the scene. The gaming industry is, as are many other industries, victim of a multitude of stereotypes. Lara Croft. Do we need to say any more? Or any of the female Marvel characters. Just imagine putting any male computer game characters in any of the poses or outfits that we see our favourite female characters in. But we’ve come to accept it, and might even like it. This didn’t stop Dutch game development company Guerrilla Games looking at their female characters a different way.
Introducing Aloy, the lead character, in role-playing game Horizon Zero Dawn - made in Amsterdam, by Guerrilla Games. Launched in 2017, the game has already sold more than 10 million copies worldwide. With a female hero that isn’t over-sexualised, Guerrilla Games has introduced a mindset change in the world of computer gaming. And it hasn’t done them any harm. It is one of PlayStation 4’s most popular games ever. With mixed gender teams and over 30 nationalities, Guerrilla Games felt it was time to develop a game that put an end to stereotypes, and would focus on the game play. Currently the global gaming world is in anticipation of Horizon Zero Dawn’s sequel: Horizon Forbidden West. With Aloy as the main protagonist again.
Guerrilla Games was founded back in 2001 - originally as Lost Boys Games - and is since 2005 part of Sony Interactive Entertainment (SIE). Employing more than 350 people. It is one of Europe’s leading game development companies. Its co-founder, Hermen Hulst, is now head of PlayStation Studio and formerly vice president of SIE. No mean feat for a Dutchman. 
Another interesting personality in the Dutch but also global world of gaming, is Rami Ismael. Co-founder of Dutch independent game studio Vlambeer which he started with Jan Willem Nijman. Games like Ridiculous Fishing, Nuclear Throne and Super Crate Box have earned them numerous awards. But this wasn’t enough for Rami. He wants to make a difference in the world of gaming. Not only by developing great games, but by helping to improve the gaming industry when it comes to diversity. It earned him the Game Developers Choice Award in 2018. By becoming a spokesperson on the topic of diversity within the video game industry. Rami is currently travelling the world to support and enable game developers in less developed countries. Made possible by the money made from the games Vlambeer developed.
And although winning awards isn’t the be-all-end-all, we would also like to mention our BAFTA-nominated game developer Tomas Sala for his debut game The Falconeer - featured on <a href="https://dutchdigital.design/articles/the-falconeer-made-in-the-netherlands">our website</a>
a little while ago.
So, plenty to be proud of as the small country we are. Proud of Dutch game developers pushing boundaries. Whether political, gaming or stereotypical boundaries. 
These are just a few from the amazing gaming melting pot here in the Netherlands. If you are a Dutch game developer, or know of any Dutch game designers or games worth mentioning on our Dutch Digital Design platform, please share it with us <a href="mailto:contact@dutchdigital.design">here</a>. We have a brand new board member, Remco Dongor, who would love to chat about it with you. He is, amongst other things, a genuine gaming geek, and co-founder of Dutch advertising agency Kapooow - who are all about impact, inclusivity and interactivity. A proper introduction will follow soon.

The Dutch gaming industry: a game changer

Inclusive Design 
comes from 
the heart

Our partner agency Greenberry truly believes that organisations can help make the world around us a better place. Therefore, they offer their resources, expertise and creativity to work on projects that have genuine societal impact. Including making digital design accessible to everyone. By involving users throughout the design process, making it as inclusive as possible. But is it really possible to consider each and everyone when designing? Greenberry’s Startpunt Inclusief Design (Inclusive Design framework) offers tools and exercises that enable people to design for all. 
Here we talk to Daniëlle Arets, one of the experts involved in developing and setting up the initiative. About what inclusive design means to her. Why it is important. And what the future will bring for inclusive design. Daniëlle is professor at the Fontys School of Journalism in Tilburg and researcher at the Design Academy Eindhoven.
What does your role as lecturer of Strategic Creativity at the Design Academy involve? 
‘Our motto is “Thinking through making”. We discover by creating and testing. It’s a golden combination to make and reflect simultaneously. Therefore, we feel it’s important to involve designers right from the start. 
We’ve been working together with the three universities of technology in Delft, Eindhoven and Twente since 2012. Combining the more abstract and theoretical thinking of these universities with the more practical approach of our designers at the Design Academy. Acquiring insights by being more user-centric. This way the role of a designer becomes more strategic, rather than being a product-designer only. Through this collaboration we bring responsible innovation: product design that is based on a need-to-have rather than a nice-to-have only. By becoming more human-centric.’
What is your definition of Inclusive Design?
‘For most government departments here in the Netherlands, Inclusive Design is now a legal obligation. However, how do you define and, therefore, practise Inclusive Design? I believe it’s more a way of thinking. Changing the culture within your organisation. A mindset shift. To look at different perspectives, and not to be locked up in your own culture. To be conscious of others, and starting conversations with them, in order to understand their challenges and needs. This way you can be as inclusive and, therefore, as accessible to everyone as possible.
In order to make this happen, you really need to want this to happen. A case of intrinsic motivation: of doing something without any obvious external rewards. Although, there is much to gain from being more inclusive. Just think of the large groups of people who currently can’t use your service or product because of a lack of accessibility.
Inclusivity is a beautiful goal, but difficult to execute. How do you include everyone? How do you create for as broad an audience as possible? By inviting, and considering everyone right from the start, including multi-ethnicity, gender, ability and literacy. That is a difficult task.
Therefore, Startpunt Inclusief Design can be a great help with this. It offers a way to reflect and think step by step about how to create inclusive products.’
What do you feel were the most important learnings from the first design sessions for Startpunt Inclusief Design?
‘As mentioned earlier on, it sounds easy, and it all makes sense, but where do you start? It’s actually very complex. 
We started by making a checklist, including generic things like typography, colour and font size. However, we soon figured out that it isn’t that simple. That it all starts with your intentions, your way of thinking, your attitude. To not force the issue, but to make it an intrinsic part of your design process. 
That we also need to continuously monitor the process, and subsequently make improvements. Have we considered everyone within this group? Who is actually interacting with our design. Be truly responsive to new insights and findings.’
What do you consider great examples of Inclusive Design? Of companies who are already making great steps towards everything we’ve discussed here?
‘Obviously I’m impressed by Greenberry. By putting this important topic on their agenda. But, more importantly, by their eagerness to practise what they preach. They have involved many of their clients in the development of their inclusive design toolkit. A smart way of spreading the word, and educating your clients at the same time.
I’d also like to mention the Amsterdam-London based service design agency STBY. The agency has a very multi-cultural staff, and they too have been promoting a more inclusive design agenda. Together with Nesta, the UK’s innovation charity, they helped promote the Inclusive Technology Prize. An important award that should also be implemented in the Netherlands.
STBY is also part of the international network of design research agencies <a href="http://reach-network.com/">REACH</a>. A network that aims to design for global audiences. To help recognise meaningful local differences and relevant global similarities.’
What does the future hold for Inclusive Design?
‘We owe it to ourselves, and to the world, to work towards a culture that is as inclusive as possible. To think further than specific target audiences. We are responsible for making it happen. To change our way of thinking.
Inclusive Design should become totally intrinsic to our way of thinking. So, it should no longer feel forced, instead it should feel logical. To co-create, to be user-centric, and part of our total strategy. We should always be conscious of our fellow citizens when making decisions, rather than making decisions based on assumptions. 
So, the future is exciting. A future where not only individuals but also large corporations need to change their attitude, their way of thinking, their working culture. By making Inclusive Design part of their business strategy. 
As the world is becoming smaller and smaller (through technology and travel), your reach is becoming bigger. If you want to be inclusive, and successful, you need to consider each individual. This will be beneficial to you, but, more importantly, to the world.’
Help Greenberry test their ‘Startpunt Inclusief Design’
If this rocks your boat, please send an email to <a href="mailto:mariska.doppenberg@greenberry.nl">mariska.doppenberg@greenberry.nl</a>, subject: ‘I’m in!’. If you would like to receive a printed version of their Startpunt Inclusief Design, please include your address. However, if you work online, together with a team, you might prefer a digital version. Greenberry can share this with you through Miro. This way you can work together, interactively. You will also receive a quick explanation of how it all works, as well as a feedback-link. Also, if you are interested in receiving an English version of Startpunt Inclusief Design, please let Mariska know.

Inclusive Design

Dutch Digital Design: contributing to 
a better world - part II

During these FITC sessions - held on 24th March this year - our partner agencies dentsuACHTUNG!, Verve (by Vruchtvlees) and Greenberry shared their vision, as well as a selection of their projects that help contribute to a better world, or concern societal issues. Topics include accessibility, sustainability, responsibility and social impact. Moderated by our board member Suzanne Visser, and introduced by Anne Le Guellec - Consul-General of the Kingdom of the Netherlands in Toronto. Have a look at the video here. 
Vruchtvlees about Living Brands: actions speak louder than words. 
It's not just about your logo. As a brand, you have to walk the talk. Your brand was most likely founded on a specific belief, or a problem that needed to be solved. Therefore, in branding you have a responsibility: to be consistent, to walk the talk, and to be able to adapt to specific situations quickly. Roman Stikkelorum shared tools on how to build a ‘Living Brand’, and how to use design systems as fuel for rapid growth and social impact. Greenberry about Designing digital products for societal impact. 
Digitalisation has given us a lot. For better. And for worse. It is Greenberry’s mission to design digital products for societal impact. During this talk Alain Dujardin shared their learnings, pitfalls and challenges when it comes to creating digital products for Good.
dentsuACHTUNG! about Farm To Fork for everyone. 
Online groceries don't just change the way we shop, but also what we buy. We want better, fresher and more sustainable produce. Crisp eliminates the traditional steps from producer to consumer, in order to deliver the best quality fresh food at a fair price. Together with the Crisp team, dentsuACHTUNG! created a brand identity, design system and digital product that combines quality with accessibility. In this talk Christian Mezofi and Sasha Irla shared how they collaborated closely with the Crisp team to get there.

Dutch Digital Design @ FITC Sessions

Dutch Digital Design: 
contributing to 
a better world - part I

Together with New Dutch Wave, we invited six Dutch digital design agencies to share their thoughts, and relevant projects, in line with this year's SXSW theme: a new urgency. New Dutch Wave is a platform designed to inspire, connect and generate new business for Dutch entrepreneurs, including creatives, start-ups and artists. A place where they can present themselves to a relevant international audience. SXSW took place online, between 16-20 March 2021. 2020 has amplified issues like racial injustice, inequality, accessibility, and the climate crisis - amidst a global pandemic. In what ways can digital design contribute positively to a better world? Sharing a 15-minute video of the two sessions - moderated by the fabulous Emily Hinks from Mischief Makers. Have a look and listen how Fabrique, Code d'Azur, MediaMonks, Kapooow, Robot Kittens and Build in Amsterdam discuss these topical and very relevant issues. Do they believe that digital design can contribute to a better world? Does the way the world is changing have an effect on their work, and the way they work? Amanda Boomstra (Fabrique), Nik Nieuwenhuis (Code d'Azur), Sebastiaan Scheer (MediaMonks), Remco Dongor (Kapooow), Tijmen Mulder (Robot Kittens) and Margot Gabel (Build in Amsterdam) chat about people, organisations, projects and ways of working they admire. About changes that are needed to be made in order to make the world a better place. They talk about sustainability, diversity, inclusivity and accessibility. How much this matters to them. And how this works within their industry. And, finally, why are the Netherlands such a hot spot when it comes to digital design?

SXSW21: the new urgency

What drives these two Master Digital Design students

Earlier this year Dutch Digital Design co-hosted this year’s first two online Master Talks, together with Master Digital Design (Amsterdam University of Applied Sciences). Six of our partner agencies talked with both students and alumni about various subjects that matter to them. Greenberry, Grrr, Adventure Club, Clever°Franke, Vruchtvlees and MediaMonks spoke about what drives them as an agency, what their values are, as well as workflow and culture. Rather than letting our partner agencies do all the talking, we had a chat with two of the Master Digital Design students, Julia van Hulst and Jessica Livon. Talking about what inspired and surprised them during the Master Talks, and what matters to them.
About Julia and Jessica
Two ambitious ladies. Ambitious in their digital design. Ambitious in what they want out of (work)life. Inspiring and interesting to listen to what their takwaway is when given the opportunity to meet and talk with six leading Dutch digital design agencies. 
Julia is 24 and Dutch. Studied New Media and Digital Culture at the University of Amsterdam (UvA), and at the University of New South Wales in Sydney, with a focus on game design. After her studies she worked at TBWA (Vidiboko) as a production assistant. But decided she’d like to focus less on producing and more on creating. That is exactly what she is doing now.
Jessica is almost 24. Half Italian. Half Russian. With a degree in Interior Architecture, and work experience with big design names like Marcel Wanders. Why the Master Digital Design? To broaden her horizon, and because the Netherlands offers something special in terms of multiculturalism. There's truly something for everyone - at work and socially. (Although she still can't get used to all the wind and rain).
First of all
Julia and Jessica really appreciated the webinar sessions, and enjoyed the presentations by all six agencies. They loved hearing about co-design and data visualisation. It pleasantly surprised them how much the agencies care about their people. And it inspired them that these agencies really are looking to contribute to a better world. Despite the fact that they are, after all, commercial/marketing companies. A valuable insight into the world of Dutch digital design agencies.
Shiny happy people
Julia, having previously worked in a more traditional advertising environment, noticed that all agencies spoke about working in a healthy way. Wasn’t working in this type of environment equal to working long hours to meet deadlines, and having healthy profits? She now feels that there might be a shift from healthy profits to healthy people at work. Because healthy, happy people create healthy, happy output.
Jessica adds to this that she’s also impressed by the fact that looking after your team, your employees goes further than just enabling them to create great work. For example, a lot of Greenberry’s work has societal impact. They work on projects that touch on difficult topics like seriously ill children and suicide amongst young people. This can also affect the people working on these projects. Greenberry makes sure to offer their teams support working on these type of projects.
Caring about their designers. This is something they both felt all speakers touched upon, and this really resonated with them. 
The way they work
As mentioned earlier, both Julia and Jessica liked the fact that agencies are really focussing on co-design, on closely collaborating with the client, and even end-user. To get the best possible end product.
Jessica mentions that they learn about co-design in their studies, but she liked the fact that agencies are actually applying it ‘in real life’. Rather than acting like the sole experts in their field, and presenting ‘final’ ideas to their clients, they listen to and work with their clients, and come to great ideas together.
Both girls also picked up on Clever°Franke’s niche specialism of data visualisation. It is something they are both interested in. Julia is already using this in one of her own projects for the Dutch National Police. She also liked the fact that Gert Franke feels strongly about finding out what ‘your thing’ is. This ‘thing’ does not necessarily have anything to do with design. It is where your passion lies. And to then see how design can add value to this passion.
What Jessica loves about data visualisation, is the fact that it is design based on facts, on reality. What you see really means something. Julia adds that it creates visibility, and raises awareness about those things that matter to a brand, or a client.
Agency life/Designer culture
Both students loved that they were given a sneak preview of what working in a digital design agency might be like. Obviously, they both had pre-conceptions about agency life, as well as agencies’ reputations. They felt that they got a pretty good impression of what life would be like at any of these six agencies. All six with their own culture and way of working. In some respects similar (contributing to a better world), in others very different (types of clients/projects/size).
They both liked the tips Matías from MediaMonks shared with regards to setting time aside to look for things that inspire you. To create an actual folder on your desktop that you can constantly add things to. Not somewhere on a Cloud. That despite working for one of the larger agencies, it still serves you to be inspired by others. Julia also mentions that she liked the fact that Matías wasn’t scared to share a very personal experience that affected him when he first started working as a designer. 
What will the future bring
It is clear that both women aspire to work in an environment that is more than just about profit-making. They would love to combine digital technology with contributing to a better world.
Julia has a special interest in the safety of the internet, and the sub-cultures that exist on the dark web. She would like to use design to create a safer, more secure online environment. To make the internet a more creative place again. Finding a happy, safe middle ground: somewhere between a fully monitored internet and an internet where people can hide completely, and freely abuse other internet-users.
Her favourite place to work? A place where she is allowed and able to contribute to a healthy, ethical working environment. And to be able to trust her gut feeling.
Jessica agrees with this. A match in values and beliefs with the people and the agency is more important than a long list of high profile clients. With a background in architecture and 3D design, she would love a chance to further explore the architecture of systems. How to best connect these systems with people. 
Jessica’s dream job? At a small(er) agency that can fully focus on doing projects for Good. A place where they look for the right people, not just the right skills.
Listening to all Julia and Jessica had to say, and considering what matters to them, the digital design world is their oyster! As big steps are being made here to create digital products for Good.

Master Digital Design

Digital Design Meets: attracting, inspiring, nurturing design talent

Three interviews with three digital spearheads. Based on the themes of the Digital Design Meets webinar sessions held late last year - co-hosted by our partner Adyen Design and ourselves. Our third and final interview is with Sebastiaan Scheer, head of design at global creative production company MediaMonks, with an amazing eye for detail and design, and a love for baseball caps. We talk about how to attract and nurture extraordinary design talent. 
Happy designers = great work
‘Of course, MediaMonks’ aim will always be to attract top global design talent. Talent that can cover all areas of expertise, regional requirements, and fulfil client briefs at a level that people have come to expect from us. However, our starting point will always be to put someone in a position that makes them happy, and enables them to reach their full potential. It works for them, but also for us as an agency. A win, win situation. Because happy designers create great work!
It is also a very workable situation within MediaMonks as we have a number of different types of design teams, covering different skillsets. This means if you are the design talent for us, we will always be able to find you a position that matches your skillset.’
A multitude of design opportunities
‘We are a big melting pot of different skillsets, cultures and brands. A large creative production company, with more than 3,000 employees across the globe. This offers opportunities. A chance to work not only in your team of superstars, but also across teams - in your own country, but also across the globe. Meeting different people, learning different skills and, in some instances, even visiting different countries (not presently due to COVID-19). But always with that one aim: be a happy designer who loves to make great work. We will do our best to help you be the best and the happiest you can be. Whether you’re a content, digital, brand or unicorn designer.’
How do you make that happen?
‘We have three types of design teams: essence (content focused), digital (website development) and brand (building brands). Within those three teams we cover seven different disciplines: 
<ul><li>Large website projects</li><li>AR &amp; VR</li><li>Experiential and Virtual events</li><li>Interactive web campaigns</li><li>Core teams: a team of all-rounders</li><li>Pitch teams: new biz focus</li><li>Client teams: teams that work on fixed, retained clients</li></ul>This means there is something for everyone.’
The way we work
‘We are a flat organisation. This does not mean that there are no senior, lead or junior designers. This means there is no hierarchy. Whether you’re a junior or senior designer, the best idea goes!
Our aim across the design teams is to connect teams, people and skills. To share projects, and transfer knowledge. This motivates and inspires everyone involved. It also prevents us re-inventing the wheel. We will invite people to take part in workshops, and team presentations.
We are also currently in the process of developing an in-house platform where we can share our work. Matias (Jansen - fellow head of design) and I are also introducing ourselves to the design teams through an online presentation where people can ask us anything. A personal touch, to show that we care, are involved and interested in you as a designer, your ambitions, your work.’
Finding that perfect designer
‘There are two options. We either look for them through our own personal network or will post a job opening. Our preference is to always keep it personal: for the person who is hiring to be personally involved throughout. This makes it easier to find that person with the perfect skills but also the perfect match for the team. Also, if the person isn’t the one with the skills you are looking for, but definitely a person that fits MediaMonks, we will always recommend and present this person across the other teams. 
Step one: your skills will have to convince us. Step two: we will have a chat with you, to see whether there is a click and a match with the team. We love talent and creative personalities, but you will always have to fit within the team. An extraordinary designer with a chip on his/her shoulder won’t do, however big his or her talent.’
How to get noticed
‘Make sure to pay a lot of attention to your portfolio. Do not start by sharing your most recent work first, but start with the work you’re most proud of. And be ready to sell this work to us. Why it makes you feel proud. How it showcases your skills, your personality. Be vocal about it, but not arrogant. Substantiate your choices. Be passionate. Let us be swept away by your enthusiasm. You might have the most beautiful portfolio but you need to make it real. Convince us.
And have some questions for us too. Why would you like to work here? How does it fit your ambitions, your work, your experience?
All of the above will give us an impression of you, your work, your skillset, your attitude to work. Be positive. Be a team player. However great your talent.’
Diversity = essential = amazing ideas
‘Diversity is us. Through sheer numbers, different cultures, work and opportunities. But on a more serious note, we have a special programme where we help ambitious people re-train, irrespective of their background, to reach their full potential. It’s about your quality as a designer, your personality and your fit within the team, not your background. As mentioned before, we are a flat organisation, and everyone is equal.
If we as a company aren’t open to all ideas, people and backgrounds, we would miss out on incredible talent, and, therefore, amazing ideas!’

Digital Design Meets: designing for talent

Digital Design Meets:  
powerful experiences 
by Circus Family

Three interviews with three digital spearheads. Based on the themes of the Digital Design Meets webinar sessions held late last year - co-hosted by our partner Adyen Design and ourselves. Our second interview is with Wouter Westen, founder and creative director of Amsterdam-based Circus Family, and once a keen snow-boarder, DJ and traveller. We talk about interactive installations, or as they like to call them at Circus Family: powerful, audio-visual experiences. 
About Circus Family
Back in 2004 Wouter and Daan Lucas (now MD and founder of Random Studio) started Circus Family: a collective of like-minded freelancers – each with their own expertise. Most of them dedicated snow-boarders who were keen to create amazing work by selling their own stories about their travels, and take editorial content to the next level. One of their first clients was Canon, for whom they developed interactive content, including short animations, films, moving imagery and photos for events.
Then, in 2007, Wouter decided he wanted to focus more on film and motion graphics, and taking this to events, in new shapes and forms. For example, instead of creating ordinary commercials, they would look at projection mapping. A technique used to turn objects into a display surface for video projection. This was the start of Circus Family as we now know it. To create an all-encompassing experience that fits with the concept that matches a client, a brand, or a product. From LED-installations to awesome motion graphics for social media.
Why powerful, audio-visual installations?
‘It is what we believe in, what we are good at. To combine graphic design with technology. This way we are able to create bold, visually strong experiences. Experiences that are tailor-made for each particular client, brand or product – bringing a concept or idea to life. And above all, a match between people, expertise and technology will create the best ideas, not just a compromise.’
A powerful experience by Circus Family
The KLM (Royal Dutch Airlines) Hologram Bar at airports in Amsterdam, Rio de Janeiro and Oslo. A great collaboration between DDB Unlimited, ourselves and the client. An experience that truly brings KLM’s pay-off ‘connecting people’ to life, as well as creating surprise and intrigue amongst KLM travellers. 
Customers who are travelling to these three different airports are connected in real-time by being projected onto a transparent hologram fabric: their faces are tracked, and their movements determine the projected angle of the hologram - creating a 3D effect. The tracking data is wirelessly sent across the world. This way travellers can have a live chat with a hologram of their counterpart at their destination airport, and get tips on where and what to visit at their destination. The Hologram Bar enables strangers who would otherwise never have met, to connect, chat and exchange local travel tips. 
Was it all plain sailing?
‘It is definitely one of the projects we are very proud of. It does everything we wanted it to. The whole package worked. And most importantly it brought the client’s brand message to live. And no, it wasn’t all simple and straightforward. We’re talking wireless technology across thousands of miles, across the ocean. Also, all our installations were beyond passport control. So, if anything did go wrong, something as simple as no WiFi connection, our people on the ground had to obtain special permissions to enter this part of the airports. However, it didn’t stop us. We made it happen!’
And then came Corona
‘As much as we do not want to let the Coronavirus crisis get in our way – it challenges us to think even more beyond the norm, something we like doing - Corona has made events and public spaces less accessible. Also less accessible for our installations. Therefore, we moved our creative spirits online, to content and social media. How we could move our expertise online. Creating bespoke, interactive and still powerful experiences. We also started working on how we could link our physical installations to an online environment. As part of this new way of thinking, we were invited to take part in an amazing social project in Utrecht: <a href="https://raumutrecht.nl/livingaparttogether/">Living ApartTogether</a>.’ 
About Living Apart Together
Loneliness is increasing in cities across the world. Also in Dutch cities. The Corona pandemic has only added to this. Living Apart Together is a research and art project that wants to make loneliness less of a taboo, and reach out and help connect people.
‘We are one of the makers who have created an installation/artwork on Berlijnplein, Utrecht. All outside, completely corona-proof and free of charge. Our creation is called Harmonie, an interactive installation consisting of 16 pillars – all exactly 1.5m apart - where light and sound meet, activated by the presence of people walking around. Sensors detect movement and create sound and light effects accordingly. The interaction between people at the installation and online visitors creates a true symphony of sound and light. And yes, you can also interact with the <a href="https://circusfamily.com/harmonie">installation online</a>! We hope it encourages people to discover new spaces, interact and connect. Both off-and online. Reducing that feeling of social isolation.’
Trendspotting by Circus Family
‘We believe that people, including clients, are looking for a more personal, bespoke experience. A unique experience. To stand out from the crowd. Essential in a world where so much is happening. It is also what people expect. They are sharing their personal data, and expect something personal in return.
Of course, technology is important for us. However, we will always first look at how to bring a product, brand, etc, to life. We will then find the right technology to make this happen. 
We also just spoke about data. Data, big data, being more and more accessible is important for us. Having access to open source data* enables us to create these personal experiences. We can build installations that are based on and interact through data. Like we created for Dutch energy company Eneco. 
We built an interactive LED-strip wall on one of Hollands’ biggest wave breakers. The wall responded, in real-time, to the wind, through data collected from analogue wind meters across the entire length of the wave breakers. This data visualisation enabled participants of the Dutch championships ‘cycling into the wind’ to be prepared for gusts of 134 kilometres per hour.’
Circus Family’s wish
‘That the world will soon be able to physically connect again, and that we, at Circus Family, will be able to continue creating physical, audio-visual experiences. To help with this process of connecting people, both in the real world and online. 
And to create more of our own commissioned pieces of interactive art, and display these in either a public space, museum or hotel lobby. To bring our own message, our own vision across. 
Circus Family’s ideal future would be to find a balance between art and commerce, combining graphic design with technology.’
*open source data: an open source database has code that is open and free for download, modification and re-use. 
Main image by Juri Hiensch

Digital Design Meets: interactive installations

Digital Design Meets: 
Robot Kittens, 
(product) life in VR

Three interviews with three digital spearheads. Based on the themes of the Digital Design Meets webinar sessions held earlier this year - co-hosted by our partner Adyen Design and ourselves. Our first interview is with Tijmen Mulder. Co-founder of digital production agency Robot Kittens, and creative technology nerd extraordinaire. We talk about what role digital plays when it comes to product design/development, and introduce you to the world of Robot Kittens.
What is a product?
To define what role digital plays when developing a product, we first need to define what a product actually is. A physical, tangible object only? Or can a digital product like an app also be classified as a product? Can one product consist of a digital and a physical part? The definition of product is incredibly broad.
Tijmen: ‘A product is something that people, a consumer or company can use. A something that can stand alone. An app, a physical product or a service.’
The role of (a) digital (agency)
Digital can play a supportive role. A role where digital is adding value to a physical product. A fun example, Robot Kittens developed a cool app for Volkswagen - in collaboration with Dutch creative agency dentsuACHTUNG: by attaching your phone to a specially-made cardboard robot-suit and activating the app, you and your suit turn into a Volkswagen car – a ‘Volkswagen Transformer’. This is a playful way of magnifying the personality of a brand or product, making it tangible and fun – bringing it to life.
Of course, digital can also have a more leading role. The agency will come up with a concept, and execute this concept from start to finish, including branding, functionality, User Experience, and, ultimately, production. 
Digital products also often support a service. A service that can only exist because of its digital counterpart. Services like Uber. Without the app, Uber would not be able to operate. Its whole existence is based on the app.
Tijmen believes that taking the lead as a digital agency gives you the freedom to look at what technology would work best. That’s exciting stuff. At Robot Kittens they like working on their own hobby projects to experiment with different and new technologies. This way they can test what technologies are most effective for each individual project, and apply them accordingly. 
<a href="https://www.facebook.com/The-Annex-by-Robot-Kittens-110607187352149">The Annex</a>: buzz-words like virtual production, multi-user positional tracking, and holographic displays are all the rage in the new tech experimentation centre, powered by Robot Kittens. 
The process
At Robot Kittens they will start with outlining the framework, the objectives, but also the limitations of a particular project. They will then organise a brainstorm, followed by a detailed plan including functionality and user experience of the product. After this the development/production process will start.
They are currently working on a product that was accelerated by the coronavirus pandemic. A digital simulation tool for ambulance and police crews. Ambulance and police staff are often trained through physical, life-imitating scenarios. Due to corona, it is now practically impossible to re-create these scenarios out there in the real world. Therefore, a VR simulation tool has become indispensable for training police and ambulance crews. It facilitates the training process. A scenario writer works closely with Robot Kittens’ 3D developers to translate the real world into a digital one.
Tijmen’s favourite digital technologies
Augmented Reality (AR). This technology like many other digital technologies will enhance and, as the name suggests, augment the product or even augment reality. It creates an interactive experience of a real-world environment where objects within the real world are enhanced by computer-generated information, and can be used across a broad spectrum of products and services. For example, AR can turn not so exciting, but essential product manuals into more inviting and interactive tutorials.
Tijmen is especially looking forward to Apple launching their AR glasses early next year. Glasses that have the technology to merge what you see in the real world with virtual information, overlaid on one of the lenses. 
Is he not worried that using these glasses will be a little intrusive? 
On the contrary. Tijmen believes it is a lot more intrusive to constantly look at your phone or your smart watch. He feels that AR glasses can feed you with information without interrupting your daily routine, making life easier. 
Virtual Reality (VR). Tijmen lives, eats and breathes VR. It is his favourite technology because it transports you to another world. It makes things possible. It doesn’t just augment an experience, it creates an experience. It offers you out-there experiences, touching all emotions and senses. 
Tijmen: ‘The difference between VR and AR? With AR you add to an existing reality. It is the real world+. With VR you can create your own reality. That’s freedom!’
At Robot Kittens they are currently looking into multi-user VR. Where more than one person in one space can share the same VR experience. This way you can create truly interactive mini-events. Again, great for adding that extra value, buzz to a brand or product. For example, you could play VR football with eleven friends, on a life-size pitch, against your favourite professional football players, your dream-team – wearing VR glasses. 
Digital trends
As mentioned earlier, Tijmen is convinced that AR glasses are coming. He’s also of the opinion that 3D printers will become a household object as they are increasingly easier to use. And we are going to further develop simulating smells, making experiences more than just visual and auditory. They call it digital scent technology.
Getting back to his favourite technology VR, the trend here is to create virtual tactile feedback, to feel resistance and touch in a virtual environment.
All these trends in digital technology will facilitate the process of any product development. It will give us more opportunities for product innovations. 
Tijmen: ‘I hope these trends in digital technology will give young people a chance to be more entrepreneurial as they can experiment with a lot of technology in their own home environment. Digital technology is becoming more and more accessible.’
Tijmen &amp; the future
What follows now is not for the faint-hearted ;-) Welcome to Tijmen’s world!
In Tijmen’s future we will see AR displays integrated within our (contact) lenses, and skin microchips to pay in shops and restaurants, using biometrics*. To make life easier. Holographic displays** and holograms will also become commonplace. To produce less waste. Digital will play a major role in this. In a world where possession of physical goods will no longer be the most important focus.
* Biometrics are body measurements and calculations related to human characteristics. Biometrics authentication is used in computer science as a form of identification and access control. 
** A holographic display is distinguished from other forms of 3D displays as they do not require the aid of any special glasses or external equipment for a viewer to see the image.

Digital Design Meets: digital and product

Adapted realities: 
how digital design shapes tomorrow

During this year’s Dutch Design Week – completely virtual due to Corona - four leading figures in the digital design world shared their ideas about the future of digital design, and its contribution to different aspects of life that (will) make a genuine difference to our future. Brought to you by us, Dutch Digital Design.
Enjoy reading our recount of the DDW Talks live panel discussion between Harald Dunnink – founder and creative director of strategic design agency Momkai and the online platform for unbreaking news The Correspondent, Luna Maurer – co-founder and partner of interactive design Studio Moniker, Jeroen van Eijk – founder and CEO of production invention lab Handmade, and Michiel Knoppert – creative director Advanced User Experience at Dell. All beautifully moderated by Emily Hinks, founder of facilitating agency Mischief Makers. Click on the link at the top of the article to read all about it.
Or watch the full video here: <a href="http://bit.ly/DDW_talks_full_video">http://bit.ly/DDW_talks_full_v...</a>

DDW Talks: how digital design shapes tomorrow

Dutch Digital Design's view on the 
New Intimacy

The world around us is digitising at an ever increasing speed. The corona crisis has only accelerated this process. Digitisation is enabling people to connect, via screens and smart devices. But how do we cope with intimacy and affection in a digitised world? How can digital design help us organise this digitised world, without losing our human touch? 
These questions are at the heart of the Dutch Digital Design Experience - part of the DDW virtual exhibitions - at this year’s virtual Dutch Design Week. Here you can have a look at a selection of Dutch digital projects that do exactly that: bringing people together, without losing sight of humanity. 
Dutch Digital Design also takes part in this year’s <a href="https://ddw.nl/en/programme/4644/ddw-talks-adapted-realities">DDW Talks</a> – just like last year. On Friday, 23 October, from 17:00 – 18:00, four prominent speakers from the digital design world will take part in our discussion: Harald Dunnink (Momkai), Michiel Knoppert (Dell), Luna Maurer (Studio Moniker) and Jeroen van Eijk (Handmade). This year’s theme: how digital design helps shape realities of the future. About the contribution of digital design to different projects and/or aspects of life that (will) make a genuine difference to our future.
For the latest updates about the speakers and Dutch Digital Design’s programme: watch this space, or click on @DDW above.
Be amazed, surprised and inspired: Dutch Digital Design’s view on The New Intimacy.

Dutch Design Week 2020

Behind the scenes of Dutch Digital Design.
Meet our curators

A quick look behind-the-scenes: introducing three of our Dutch Digital Design curators. Firstly, meet Rolf Coppens from <a href="https://grrr.nl/en/about-grrr/">GRRR</a>, Dutch digital design agency for meaningful matters, and Mr. Chief Curator. He will share his and, of course, Dutch Digital Design’s view on what we do, why and how we do it. Paulien Hosang – visual designer at Dutch digital design agency <a href="https://www.greenberry.nl/over-ons">Greenberry</a>, and Joost Huver – design lead at <a href="https://achtung.nl/About">Achtung! Amsterdam</a>, will give you a quick impression of what matters to them as Dutch Digital Design curators.
What we do, why and how we do it – by Rolf Coppens
We are on a mission to share Dutch Digital Design with the world. We want to celebrate the best Dutch digital work out there, based on three pillars: originality, craft, and positive impact on society. All of these factors count, but not every case has to excel at all three. One thing counts for sure: the work has to stand out. It needs to have the wow-factor. Needless to say that the work has to be produced in the Netherlands or by Dutch people living or working abroad. 
Dutch Digital Design has a great team of curators - from the best digital design agencies in the Netherlands. They (digitally) come together to discuss their choice of best Dutch digital work and why this particular work should feature on our website. Each month a selection is made of what will feature on our website.
Life as a curator - by Paulien Hosang and Joost Huver
Paulien has been a curator for Dutch Digital Design since December 2019. The things she looks at over and above our three pillars when looking for outstanding Dutch digital design work, is whether the execution of a project truly suits its purpose. However, when looking at our three pillars, the impact a digital project has on society matters to her most. Projects nowadays can’t really get away with not adding any value to the user. It is also Paulien’s personal mission to ensure that the work she creates, together with her other colleagues at Greenberry, somehow contributes to making the world a better place. It is what she genuinely believes in, and also why she works at Greenberry – an agency that has every intention to create smarter digital design that helps make things better - for the user and, ultimately, for the world. 
But a good balance between impact, craft and originality is essential. It should be visually appealing, the technology innovative and the user experience inclusive to all.
Paulien’s favourite Dutch Digital Design case so far is <a href="https://dutchdigital.design/cases/de_nachtloerrrders">Nachtloerrrders</a>. It shows an impactful digital journey - from start to finish - with active involvement of children in the development of this project, seeing their own work digitised. A perfect, tangible digital translation of what might happen if we continue to disturb animal habitats with our cities lighting up the night skies.
Joost is proud of what our small country produces. Our cities are well-known around the world: Eindhoven for industrial design, Amsterdam for graphic design, Rotterdam for urban design. And we’re not doing so badly when it comes to digital design either. So, when he was asked whether he would like to help share the best Dutch digital design with the rest of the world by becoming a curator, Joost didn’t have to think twice. He finds his role as curator inspiring: learning something new every day, making you want to push yourself even harder.
When it comes to the three Dutch Digital Design pillars, he believes that all three matter. Although, originality is important to him. A project needs to be innovative, with a unique idea or approach. With attention to detail, however simple or clean the design is. What does positive impact mean to Joost? The work needs to be relevant to the user, and offer a solution. People demand honesty. They see right through things if it doesn’t do what it promised. 
Finally, a project has to feel like a personal experience to the user. People no longer want to be seen as part of a specific target audience. 
One of Joost’s favourite Dutch Digital Design cases: <a href="https://dutchdigital.design/cases/leela-digital-fashion">LEELA, digital-only fashion platform</a>. According to Joost, it perfectly embraces the three pillars: originality, craft and positive impact.

Dutch Digital Design Behind the scenes

Homerun. 
A tool to attract talent and hire great people

Introducing Homerun. An online tool for companies to attract talent and hire great people - making recruitment better looking and more engaging. They are also the minds behind the online magazine and newsletter The Art of Work, exploring company culture, employer branding, work/life balance and office rituals at design-minded companies, all over the world.
Homerun's founders, Willem van Roosmalen and Thomas Moes, have a slightly different background to traditional recruiters: they are designers, and founders of the well-known Dutch creative job platform FONTANEL. According to Willem: 'Everyone agrees that talent is the number one asset that defines the success of a company, both now and in the future, but people rarely see the connection between talent and recruitment.' Thomas: 'All companies are effectively posting the same job post. Just with a different email address and a few small differences in the general description of the job details. But we got to know some of these companies inside out and knew that they were completely different.' This was the beginning of Homerun, an online tool that enables companies to tell a more personal and appealing story to prospective employees.
Most companies understand the importance of creating a strong brand to communicate with customers, but not the need to have a strong presence amongst potential employees. Homerun enables companies to tell a more authentic story, instead of listing bullet points outlining generic skills.
Already hundreds of leading creative companies rely on Homerun to attract better candidates and streamline their entire recruitment process, including VanMoof, Denham, WeTransfer, Tony's Chocolonely, Bugaboo, The Correspondent and Bugaboo. To name but a few.
Their online magazine The Art of Work - containing articles and guides - is also loved and read by many renowned international, creative brands like Netflix, Nike and Mailchimp.
Here we would like to share two of their inspiring guides - packed with practical tips and advice on topics like employer branding, diversity &amp; inclusion and job interviewing:
<ul><li><a href="https://www.homerun.co/artofwork/guides/attracting-talent">Homerun's guide to attracting talent</a> - a modern guide on how to get those candidates rolling in</li><li><a href="https://www.homerun.co/artofwork/guides/employer-branding">Homerun's guide to employer branding</a> - a modern guide to boost your employer brand Click on the links to download and read the guides</li></ul>

Homerun

Executive producer 
Jena Fenwick. 
A Kiwi in Amsterdam

The last in a series of short interviews introducing some inspiring digital design ladies who dared to leap into the unknown and made the Netherlands their home. All the way from New Zealand, meet Jena Fenwick. Executive producer at digital experience design studio Resn. From a degree in Communications at Auckland University of Technology to an internship in Hong Kong – with a two-year stopover in London, Jena now lives and works in Amsterdam.
On her way to the Netherlands
It was always clear to Jena that she wanted to broaden her horizon – leap into that unknown. Hong Kong was her first stop. However, after completing her six-month internship, she wanted more, and wasn’t ready to return to New Zealand yet. Next stop: London. This city appealed to her because of its vibrancy and diversity. With regards to work, Jena was especially interested in the creative process within an agency, how to organise this process. Her ideal job: being a producer. Jena worked for two years in experiential marketing until her visa ran out. Time to move on, broaden that horizon, and map out the next path.
So, why the Netherlands?
Jena’s requirements: a city with a similar vibrancy to London, but also a growing number of digital opportunities. Jena was aware that this market was growing rapidly. No longer was digital just an after-thought. The roles were reversing. Digital was taking the lead.
‘The Netherlands is not only a creative hub for global brands and agencies in Europe, it is also at the forefront of digital innovation.’
So, Amsterdam it was! And so far, Jena hasn’t been disappointed. Having lived here for almost eight years, she – like the other three interviewees – loves the work-life balance. 
‘Here in the Netherlands, they value the importance of enjoying life, but also the need to work hard. In that sense, the culture is accommodating to the ebbs and flows of our industry: working long hours to meet a deadline, but able to adopt a slower pace after having had one of those ridiculously busy weeks.’
From digital producer to executive producer
Jena’s first job as a producer in digital was at boutique digital production studio Cartelle. With a team of only five, it gave Jena the exposure she needed. It was her digital learning ground - being exposed to every part of the digital production process. 
In 2015 Jena started at Resn, also as a producer. She is now an executive producer. 
‘As a producer your focus is on managing the deliverables of a project, hitting deadlines, staying within budget, liaising between client, agency and partners. As executive producer, you’re overseeing these projects and processes - focusing on best practices, new business and pitches. Together with the technical and creative directors you strategise and define the approach and response to a brief that is most effective for the client, whilst also ensuring having happy teams within the studio.’
New Zealand. The Netherlands. What makes the difference?
‘I can actually draw parallels between the two countries. Both are open-minded, have a healthy work-life balance, and, most importantly, a strong sense of community. This also translates to work. Agencies share, praise and critique work amongst their peers in the industry - sparking healthy competition, but also inspiration.’ 
Inspired by...
...Sea Shepherd. An international non-profit marine conservation organisation. Jena first worked with Sea Shepherd when developing their new website. She’s inspired by their passion, drive and what they represent.
‘They are protectors of the sea, engaging in direct action campaigns to defend wildlife, and conserve and protect the world’s oceans from illegal exploitation and environmental destruction - from Japanese whalers to illegal fishing, and much more. Have a look at the AR-experience we recently developed for them: <a href="http://www.belowthesurface.resn.co.nz">www.belowthesurface.resn.co.nz</a>.’

Working in the Netherlands: Jena

Liza Enebeis. British by birth. Greek at heart. Dutch by design

The third in a series of short interviews introducing inspiring creative ‘digital’ design ladies who dared to leap into the unknown and made the Netherlands their home. Meet Liza Enebeis. Born in the UK, grew up in Greece, studied in Paris and London, and now lives in Rotterdam. Liza is creative director at Studio Dumbar (part of Dept), a Dutch branding agency specialising in visual identity and motion. 
On her way to the Netherlands
Whilst studying in Paris, Liza was looking for an internship in design. She always liked the sound (and look) of Dutch design. To her, it felt like the Dutch were prepared to take bigger risks, and liked experimenting. 
To find her perfect internship Liza did a lot of research and reading. A particular agency caught her eye: Studio Dumbar in Rotterdam, the Netherlands. She approached them and they offered her a place. However, after her internship she decided to continue studying, and completed a Master’s in Design at the famous Royal College of Art in London. 
Liza loved London, with all its diversity and energy. So, she decided to experience life ‘as a Londoner’ a little longer, and found her first job there, at renowned design studio Pentagram.
‘Pentagram felt like the British Museum of design to me. A real eye-opener. I was in awe of the things I saw and learned there. It inspired me.’
So, why the Netherlands?
But the Netherlands were still in the back of her mind. She loved the Dutch approach to design, and was keen to experience and be part of it again. So, after nine years in London, Liza returned to the Netherlands, initially working for a small design agency in The Hague. However, she had not forgotten about Studio Dumbar. The agency that truly impressed her. She returned to work with them in 2008 as a designer. Liza is now creative director at Studio Dumbar and, after 12 years, still feels inspired by the work they create.
Greece. France. UK. The Netherlands. What makes the (design) difference?
‘It’s all about a country’s mentality and culture that determines their attitude to design.’
When Liza was growing up in Greece, design was pretty much still in development. When speaking about design, people were mostly referring to advertising. Also, in Paris you either focused on advertising or design. Design was still seen as niche, not as a commercial movement, but as something that came from art. In the UK, Liza felt that design was mostly idea-driven and focusing on copy, on words first. (The) design would follow on from that. This was the big pull towards Dutch design. Design was and still is a stand-alone movement. 
‘The Dutch approach to work and design feels liberating. There is a sense of equality, and honesty. All ideas are welcome. Everyone is contributing to a bigger whole. But don’t be afraid to be told if it doesn’t work for them. However, their to-the-point attitude makes things simpler, faster, and, in general, gives better results.’
This feeling of collectiveness is a reflection of the Dutch mentality and culture: honest, open, and entitled to your own opinion, - and can also be found at Studio Dumbar.
‘Even though our team is quite international, it is deeply rooted in us as a studio, and all ingredients are equally important. We are determined to find the best possible solution, always with an open mind. We're not trying to convince clients, or sell concepts. Together with our clients, we recognise what is the strongest and most appealing idea.’
Inspired by...
...Amsterdam-based, interactive design studio Studio Moniker. Their objective is to research the social effects of technology. How we use technology and how it influences our daily lives.
‘Studio Moniker are autonomous in their approach. Constantly pushing boundaries. Experimental. But still aesthetically pleasing. A lot of their projects are self-initiated as a response to an issue. Truly inspiring.’

Working in the Netherlands: Liza

Joséphine Cambier. 
Designer chez GRRR. 
Enchantée

Introducing Joséphine Cambier, from Lille, Northern France, living and working in Amsterdam. She studied Communication Design in Paris, and is now Senior designer at Dutch digital creative agency GRRR. In a series of short interviews we would like to introduce you to some inspiring, creative ‘digital’ ladies who dared to leap into the unknown and made the Netherlands their home. Second in the series is Joséphine.
Why Amsterdam, why the Netherlands?
After Joséphine graduated, she got offered a 6-month scholarship for an internship somewhere in the EU. Whilst spending six months in Denmark, Joséphine felt an affinity with the clean, simple but effective Nordic design. Something she was keen to explore further. Also, she was looking for a place as energetic as Paris, but not as manic. Amsterdam it was! With its own ‘not-as-Nordic’, but still simple and effective style of design. She arrived in 2014 and is still here.
Also, the Netherlands is known for its work-life balance. This attracted Joséphine. So far she hasn’t been disappointed. One of the things she really likes is the fact that everyone has the opportunity to work part-time – even though she works fulltime herself. It is socially accepted. 
‘People can choose to work part-time – whether with or without kids. To dedicate their time to other projects they love doing. This makes for happier people.’
She also enjoys the nine-to-five (thirty) mentality:
‘In general, it is not expected you work late – as it is in Paris. If you need to meet a deadline or feel the need to finish the final touches of a project, you can choose to work late: it is (mostly) your own choice.’
Finally, Joséphine believes that the Dutch, although brutally honest at times, are more liberal and tolerant compared to her fellow countrymen. She can live with this Dutch honesty (read: directness). She even appreciates it, especially at work. 
‘Honest feedback enables you to make progress quicker, and deliver better quality work.’
Speaking Dutch
‘You can definitely get by without speaking Dutch. I did learn to speak Dutch because I felt it would make it easier for me to participate in conversations during our Friday afternoon drinks (borrel) at work ;-) However, I always refer back to English, and no-one seems to have an issue with that. This might be different in other parts of the Netherlands though.’
About our attitude to digital design
The Dutch are design-orientated. You see this everywhere you go. For example, the design of the Dutch postal stamps, the logo of the Dutch public transport. They have a modern design feel and get the message across. It’s the power of design.
In countries like Spain, Italy and France design derives much more from art and fashion. It is not as much a stand-alone movement as it is here in the Netherlands. In the Netherlands it feels more functional. 
Inspired by...
...one of GRRR’s clients, The Ocean Cleanup. The Ocean Cleanup is a non-governmental, engineering and environmental organisation based in the Netherlands. They are focused on developing technology to extract plastic pollution from the oceans. Its founder is Boyan Slat, only 25 years old. Truly inspiring.
‘GRRR as an agency focuses on meaningful matters (zinnige zaken). Things that matter to the world. This is inspiring and creates a positive attitude at work. It also shapes the team that we are.’

Working in the Netherlands: Joséphine

From India – via NYC –
to Amsterdam.
Meet Nishita. Strategist

Nishita Tamuly. Senior strategist at Dutch digital experience agency Your Majesty. Originally from Pune, India. A city in Western India, and known for the Aga Khan Palace, a memorial to the inspirational Mahatma Gandhi. History lesson over, now back to Nishita. How did she end up in the Netherlands? In a series of short interviews we would like to introduce you to some inspiring, creative ‘digital’ ladies who dared to leap into the unknown and made the Netherlands their home. We start with Nishita.

How Nishita ended up in the Netherlands
About six years ago Nishita decided she wanted to explore the world and step outside her comfort-zone. First port of call: the BIG apple, New York City. A pretty big leap from India, but at least as bustling. Here Nishita started her career as a strategist, and although she loved her job and NYC with all its endless opportunities, life was fast and the hours were crazy. Time for a little reflection. Was this the work-life balance she was after? In 2019 she decided to take yet another leap of faith to find out whether she could find that work-life balance here in the Netherlands. 
Why Amsterdam, why the Netherlands?
The place feels vibrant, the people welcoming. Also, there are a lot of up-and-coming digital, creative agencies – it feels like the digital hub of Europe. 'An interesting place to be, in all aspects. People and agencies seem to thrive on creativity and diversity.' Nishita is enamoured by the ‘balance in everything’ in the Netherlands. For example, the Dutch lifestyle and their attitude to work - resulting in a healthy work-life balance. But also the juxtaposition of their respect for traditional design and their love for modernity. That mixture, that diversity feels very Dutch to Nishita.
About our attitude to digital design
‘There seems to be a genuine interest and excitement to incorporate new technology in everything the Dutch do. There is a true intent to know ‘what’s next’. The Dutch are open-minded and entrepreneurial. Their openness feels native.’
This makes it easy for Nishita to share her experiences of the world, including her digital work experience in New York, but also about life in India. 
‘There is a keenness to incorporate different views, to collaborate with each other. That attitude is inspiring.’
Inspired by 
One of Your Majesty’s clients is The Fabricant, a Dutch digital-only fashion house – producing hyper-realistic digital fashion experiences. 'I was already fascinated by them when working in NYC, how exciting to find out that they are working with Your Majesty.' Nishita feels truly inspired by the co-founder and creative director, Amber Slooten, who is so passionate about fulfilling her dream. A dream of producing digital-only fashion. Fashion that has no physical counterpart. You only wear it online. It is the ultimate in sustainable fashion. How does it work? Digital-only fashion is popular on social media channels, like Instagram and TikTok, and in gaming (fashion skins). But is also used for sampling purposes. It takes away the need to produce physical one-off samples. This is again more sustainable and also cost-reducing.

Working in the Netherlands: Nishita

Sharing the best in Dutch digital design.
With Adobe

Friday afternoon. A short interview with Alexander Meyers. Marketing guru at Adobe. Telling us more about their collaboration with Dutch Digital Design. A collaboration that was already initiated in the early days of Dutch Digital Design, but recently re-ignited with this great initiative: Adobe is sharing Dutch Digital Design’s cases on their social channels - one every week. 
Everyone knows Adobe. So, why this collaboration?
Adobe’s vision is to change the world through digital experience. Every experience starts with creativity. Adobe enables this digital creativity. Dutch Digital Design celebrates outstanding digital design from the Netherlands and, therefore, digital creativity. So, a great partnership. 
With this collaboration we hope to offer an even wider platform to help promote the best of Dutch digital design. Making all this fantastic work even more visible. We can help to distribute the work from Dutch digital agencies worldwide. To all Adobe users.
Great news for us. Also great news for Adobe?
Yes, of course. Dutch Digital Design gives us access to the best Dutch digital agencies. They create exceptional digital creative work – often using Adobe products – confirming Adobe’s vision. A great showcase of how our products work. What better way to demonstrate our product portfolio!
However, we are always searching for new ways to extend our relationship beyond the digital connections we have with our customers. This is why we are continuously looking for initiatives to bring creatives together – for example during (online*) events.
*Due to the corona crisis all Adobe events take place online
Are there any more of these initiatives?
Adobe Behance. Behance is the leading online platform to showcase and discover creative work from around the world. Creative people globally join Behance, entering a community - made with their original work and creative process in mind. Users showcase their work and skills. A platform where you can show how you actually create your work. Nice to know that some of the Dutch Digital Design’s curators* are already members of our Behance community.
*Dutch Digital Design curators are a panel of creative experts. They scout new work, and select the cases promoted through our channels.
What does the future hold with regards to this collaboration?
Our collaboration is not just going to stop with sharing the Dutch Digital Design cases on our Adobe Benelux Facebook and Adobe NL Twitter accounts. Adobe organises a lot of events around the globe. We already offer Dutch Digital Design and their partner agencies a stage at those events. And some of them feature on our live streams, on our Behance platform – sharing their great work.

Collaboration with Adobe

Product invention lab Handmade: pioneers in future products

Let’s chat with one of the Netherlands’ best kept secrets, Dutch product invention lab Handmade. Based in Amsterdam and Singapore. Working with world-famous product makers like Mercedes-Benz, Amazon and Nike. Most of their projects: behind closed doors. Jeroen van Eijk and Matthijs Braamhaar, who founded the company in 2011, give us a scoop on their workings. Their goal: to be pioneers in future products - by developing cutting edge prototypes of first-of-its-kind products, non-stop. You read it here first! 
CONFIDENTIAL. What can you share with us? 
Due to the nature of our business, we cannot share or disclose anything about our client projects. We’re talking about the crown jewels – the core products – of these companies. Sometimes it takes 10 years to bring a product to market. If innovations leak, our clients might lose their competitive advantage. Still, we are incredibly proud of what our teams create. 
So instead a look behind-the-scenes. We run our own Research &amp; Development (R&amp;D) in order to learn, and better ourselves. It’s in our DNA to push boundaries. To do what nobody has done before. This is how we build the expertise needed for the early stages of advanced product development - developing first-of-its-kind products by using new technologies. In everything we do, we anticipate what might happen in two, five, or even ten or twenty years. 
Wow. So, how do you do this? 
Handmade is a fairly unique collective of exceptionally talented designers, coders and makers. We don’t talk, we do. We put in the hours, develop our own tools, and re-invent our company every couple of years. 
It’s how we, at Handmade, always stay one step ahead. Our skills allow us to work with any technology, enabling us to sculpt it into any user experience. We’re continuously evolving and improving. Progress is ingrained in our culture. 
With our R&amp;D programmes, we explore many possible futures, and almost directly start building interactive demos and making prototypes of first-of-its-kind products. We’re big on design through making. Things can get pretty advanced in terms of technology and engineering, but we never lose sight of the experience. Ultimately, what we deliver is a reference experience that becomes the ultimate example for going to market. 
Now we’re curious. What do you make exactly? 
We’re into a wide variety of things. From concept car interiors to future computing devices. From game controllers to XR workspaces. Sensing kitchen appliances to interactive clothing. A blend of digital and physical. We are experience design-driven. And we do all of this in-house. 
The future. Moonwalkers. 
Our R&amp;D programme this year is called Moonwalkers – developing space suits. Our goal is to design and prototype an undergarment that can sense and guide human emotions, as well as an outer shell that becomes a human-to-robot interface. 
It involves programmable fabric that can change shape, and flexible electronics that allow you to create soft robotic garments. That’s all we can say at the moment, but pretty cool stuff! 
Handmade in one sentence. 
We pioneer future products – to advance, enhance and delight.

Product invention lab Handmade

Sky-high digital networking, with Adyen and Awwwards

A fabulous night of digital networking. At Adyen's amazing sky lounge. Eleven floors up. With a great view of Amsterdam. Accompanied by drinks and funky beats by DJ Meneer Heerens. A fantastic way of catching up after the first day of Awwwards Amsterdam 2020.Several speakers took to the stage on behalf of Dutch Digital Design, including Julie Peters, from our host Adyen - Dutch Digital Design partner brand, Wouter Dirks from Studio Dumbar, Addison Schultz and Viktor Renkema from start-up Framer. Julie talked about how she loves to write poetic copy, to make financial content more inviting. Studio Dumbar gave us a tour around their DEMO Festival campaign at Amsterdam Central Station. And Framer introduced us to their exciting prototyping tool where design and code come together, to create incredible prototypes for any app, site, or screen.Finally, Dutch Digital Design chairman Bert Hagendoorn shared the story behind Dutch Digital Design - the collective. Fantastic venue, great crowd, and good vibes! Thank you, Adyen!

Sky-high digital networking. With Adyen and Awwwards

All about social impact:
introducing Mr Dujardin 
from Greenberry

Home base: Utrecht. Speciality: Dutch digital design with social impact. Favourite food: risotto - made with passion and patience. Meet Alain Dujardin, creative director and partner of Dutch digital agency Greenberry. Alain is also a board member of Dutch Digital Design. His and Greenberry’s motto: ‘Let’s create digital design that benefits us all’. We asked him a few questions to get to know him and Greenberry better. Who is Alain Dujardin? And who are Greenberry?Alain, at 42, has been doing digital design for a long, long time. We like to call that having bags of experience. Originally a copywriter in the Dutch capital Amsterdam, Alain joined the original Greenberry-crew Jan-Willem van Beek, Bas van Bokhorst and Michael de Kruijf, 10 years ago in Utrecht, right in the heart of the Netherlands. Originally just the four of them, now there are roughly 25 of them. Working hard and having fun. With one goal in mind. Being truly user-centric. Always considering making people’s lives a little better, a little easier. Using digital technology to do so.A Dutch Digital Design partner agency. Why?Because Greenberry and Dutch Digital Design look at the (digital) world the same way. Proud to be Dutch. Proud of what this little country produces and represents: meaningful but cool, independent, sustainable and not-scared-to-be-different (digital) design. Sharing this with the world. As a united front, with other Dutch digital agencies. Greenberry’s dream? Initiating projects that matter to people, and the world. Always involving those people – the users - right from the start. Making sure it works for them. To remain as modest and independent as they are now. With a great bunch of people. Diverse, with lots of energy, and different talents. Creating amazingly cool projects together. A few of the socially impactful projects they are proud of.CliniClowns app – to reach (chronically) ill and disabled children with a joke and a smile. Greenberry developed an app for the CliniClowns to enable them to reach these children in a place the clowns can’t get to. For example, at home or on the road.Médecins Sans Frontières (Netherlands) live web-blog (liveblog.artsenzondergrenzen.nl) – to share what humanitarian crises are happening in the world right now. Enabling Médecins Sans Frontières to report about their work the moment they arrive.

Alain Dujardin. Greenberry.

Dutch game developer Tomas Sala takes us to the skies

Tomas Sala is a Dutch independent game artist and designer, as well as one of the founders of Dutch game studio Little Chicken. Tomas has a unique style that turns games into unique visual and interactive experiences.Later this year his latest game The Falconeer will fly to Xbox One. A truly mesmerising fantasy RPG (role playing game), with beautiful, breathtaking animations. This is what Xbox has to say about it: 'A true gem that will set the bar for what indies can offer games. From the beginning we’ve been enamoured with this breathtaking aerial combat RPG, so we’re proud to be able to work with Tomas, whose passion and talents can be seen in this beautiful game.' The Falconeer has already won two Game Connection Development Awards: best hardcore game 2019 and best hardcore PC/Console 2019.Check out the trailer and be amazed.

The Falconeer. Made in the Netherlands.

Eurovision Song Contest's new 'Dutch' visual identity

We are very proud that one of our partner agencies, Dutch design agency Clever°Franke, has created the visual identity for the Eurovision Song Contest 2020, taking place in Rotterdam.The Eurovision Song Contest started 10 years after the end of the Second World War, as a way of uniting Europe through music - with just seven countries participating. Each year it embraces new countries, and new talent. In May 2020, it will be held in Rotterdam, with a total of 41 countries participating. The show is being watched around the world by approximately 200 million people. Clever°Franke joined forces with the Eurovision Song Contest organisation to design the 2020 visual identity. The agency developed a data-driven logo that honours the history of the song contest in a contemporary way, leaving room for future growth at the same time. By using software developed by the agency itself, along with historical data, they were able to design an iconic identity that brings the history of the Eurovision Song Contest to life in a truly unique way. The vignette is an abstract representation of the flags of all countries participating in 2020. By adding the flags chronologically, in order of each country’s first Eurovision appearance, they created a colourful, abstract symbol. The identity forms the visual basis for the international event in Rotterdam, including three shows (12, 14 and 16 May). It also symbolises the celebration of the 65th anniversary of the Eurovision Song Contest.

Eurovision Song Contest

Adyen Design: about payment experiences, 
collaborations and 2020

Meet Andrada. Lead Designer at Adyen Design. The in-house design agency for Dutch company Adyen, a platform to simplify and accelerate global payments. Andrada – from Bucharest - graduated from the Gerrit Rietveld Academie, an international university of applied sciences for Fine Arts and Design in Amsterdam, and has been working for Adyen Design for five years now. We asked her a few questions about Adyen Design, their collaboration with Dutch Digital Design, and their plans for 2020.Who are Adyen Design?We are a young design team creating international advertising campaigns, event materials, the interiors of the 21 Adyen offices across the globe, and much more. Being in-house we can respond fast, and know the brand inside out. We are the brand ambassadors. Starting back in 2013, we believed that we needed to give our brand a personality, create an experience that translates exactly what Adyen represents: a great, unique, tech-driven product that offers a simple, reliable and seamless payment process to merchants, including Ebay, Spotify and Etsy. Working as a team across cultures and time zones, we also seek expertise from outside our agency. To ensure that we are always able to come up with new ideas relevant to our product, services and merchants. We collaborate. Within Adyen, but also beyond.Why did you decide to become a Dutch Digital Design Partner Brand?We are a truly Dutch company. Global, but proud to be Dutch. Proud to support and promote Dutch Digital Design. We saw this as an excellent opportunity to collaborate with the best Dutch digital design agencies in the Netherlands. To learn, to be inspired, and to share knowledge. To be close to the source, to so much digital creative talent, is amazing. And, of course, Dutch Digital Design is a great platform to showcase our own work as well. It’s the season to be jolly, and the new year is approaching soon. What will 2020 bring for Adyen and Adyen Design?In 2020 we are looking forward to learn even more. To be even better than the year before. We want to offer the best payment experience out there. Offering unique solutions that provide simplicity and reliability to our merchants, but being fun and engaging at the same time. First point of call in the new year: re-designing our website. Telling our story online, reflecting our great culture, our values and beliefs, and, of course, sharing our payment platform – ensuring we will always stay relevant to what’s happening in the world of global payments.

Adyen Design

Website launched with a bang at first Dutch Digital Design dinner

The all-new Dutch Digital Design website was launched last Thursday, during the first Dutch Digital Design Annual Dinner - at the amazing new offices of Dutch global creative production company, and Agency Partner, MediaMonks, in Amsterdam.A launch and dinner suited to celebrating and honouring Dutch Digital Design. 24 Dutch digital agencies, the Dutch Digital Design team, and the first official Dutch Digital Design Partner Brand, Adyen, came together to celebrate the official launch of the brand-new website. Taking the Dutch Digital Design initiative to the next level. The evening was a great example of the Dutch open-minded culture. Different agencies, cultures and disciplines connected during an evening where Dutch digital design took centre-stage.

First Dutch Digital Design Annual Dinner

Is Dutch culture the secret behind its digital design success?

As part of The Drum Network Amsterdam Special print publication, three Dutch Digital Design agency partners and its Chairman were interviewed. Result: a great insight into the effect that Dutch design, the Dutch mindset and culture have on the Netherlands becoming the international hotspot for outstanding digital design.Liza Enebeis (Studio Dumbar), Ronnie Besseling (Nok Nok Studio), Sebastiaan Scheer (MediaMonks) and Bert Hagendoorn (Dutch Digital Design) enlighten us why they think this is happening. Is it the Dutch innovation-minded culture? Their down-to-earth approach to everything? Or its geographical location? An interesting read!

The Drum Netherlands Digital Hotspot

Partner agencies on stage at DARE, event 
for digital creatives

Emerce DARE is a one-day event organised by and for digital creatives. Our partner agencies Studio Kraftwerk, Your Majesty, Robot Kittens, RONIN Amsterdam, Studio Dumbar and CLEVER°FRANKE were amongst the speakers. Moderator: Dutch Digital Design board member Greenberry's Alain Dujardin. The sessions focused on topics including design system, voice design, ethical design, multidimensional user experiences and – of course – digital design. The agencies also shared what inspires them, as well as behind-the-scenes stories.

Partner agencies on stage at Emerce DARE

Introducing 
WoMMen in Tech: 
a platform for women

Dutch agency MediaMonks introduces a platform for all ambitious women in the (predominantly male) digital design industry - initiated by women working at MediaMonks. The women at MediaMonks are focused on sparking conversations, building a tight-knit network of support, to benefit everyone – by telling their stories. So, meet the WoMMen in Tech at MediaMonks. Hear about how they started, who they became, and what they have learned.

Introducing WoMMen in Tech: a platform for women in our industry

About a 
Dutch design 
director in Ukraine

Our board member Sebastiaan Scheer, MediaMonks, was on stage at Design Village, the biggest design festival in the Ukraine. In front of a crowd of 600+ young designers and design talent. This year’s theme: ‘working together’. We asked him a few questions about his fascinating trip to Ukraine.How did a Dutch design director end up in Ukraine?I was asked to talk about how working as a team can make a difference. A difference to the end product, but also to you as a designer. That we, at MediaMonks, are no longer about individual talent, but about using talent as a team. From the beginning to the end everyone is involved. Whether you’re a strategist, developer or designer. To focus on producing the best product out there.What stood out when you were there?That Ukraine is incredibly beautiful but unpolished, with so much potential. Life is two-fold out there: rich and poor. And the poor have to work incredibly hard to get where they want to be. In this instance, it is almost impossible for young designers to get their dream job. The market is small. The country is huge. And most of them haven’t got a lot of money to spend. But they have an incredible fighting spirit, and are extremely proud of their country, despite all the obstacles it throws at them. What inspired you?Everywhere you go, you can still spot the old Soviet influence. Beautiful murals in the middle of nowhere. Statues. The industrial surroundings. It’s rough and raw, beautiful and tragic at the same time. Yet it was the people who truly inspired me. Their attitude, their willingness. At the festival young designers drove more than 500 miles to listen to people like myself, to be inspired, to try and make their dreams come true. Wow!

Sebastiaan in Ukraine

Dutch Digital Design 
official partner 
Dutch Design Week

With 350,000 visitors from all over the world, Dutch Digital Week has become a global design event. This year Dutch Digital Design were the official partner of ‘Digital Friday’. In the morning we organised ‘Creative Jam’ for young digital talent, together with Dutch Digital Agencies, Adobe Benelux and Sint Lucas, a Dutch creative college. More than 90 students from different schools worked together on a challenge for the Philips Hue-brand. They were supervised and guided by Dutch creative agencies.<a href="https://vimeo.com/371317540">Watch 'Creative Jam' video here</a>The afternoon was dedicated to the ‘DDW Talks: Digital Design’. The event was sold out, with more than 250 registrations. Dutch Digital Design partner agencies, including CleverFranke, Vruchtvlees, MediaMonks, Code d’Azur, presented, along side Sony and Adobe. This year’s theme: collaboration across disciplines.

Dutch Digital Design official partner at Dutch Design Week

Random Studio blends commerce and art into a fashion experience

Dutch independent experience design studio Random blends commerce and art into a range of inventive physical and digital interactive experiences for some of the biggest names in fashion.A movement-controlled virtual biplane for Louis Vuitton, a sneaker-operated sound-and-light experience for New Balance, and a fashion look-book on Street View - by Google Maps - for Raf Simons X Fred Perry. Read the interview with founder and studio chief Daan Lucas, giving us an insight into the fashion world of Random Studio.

Meet the graduates 
from the first Master's 
in digital design

The first Dutch Master’s programme Digital Design is in its second year now. A full-time, one-year curriculum where students work and learn in an international design studio setting.The programme is a result of a partnership between the Amsterdam University of Applied Sciences (AUAS) and nine Dutch design agencies. Through the unique skill-set combination of academics, industry and stakeholders, this master’s degree provides students with the skills to become the design leaders of tomorrow. The Dutch Digital Design foundation is proud partner of the programme.Meet some of them on the AUAS Master Digital Design brand new alumni page.

Meet the first Digital Design graduates

How to attract and retain top creative 
talent in Amsterdam

Together with The Drum, we recently organised a round table discussion with Dutch agencies. Topic of discussion was how to attract and retain creative talent. There is no place quite like Amsterdam when it comes to talent. It is one of the only cities where you can sit in a room with 20 different nationalities, create the best work of your career, and still leave at 5pm sharp. Not to mention the increasing number of brands and tech companies moving to the city, frequently poaching the best-in-class from the creative industries. However, it is not easy getting top international talent to sign on the dotted line.

How to attract and retain top creative talent in Amsterdam

Clever°Franke’s Weather Charts at Stedelijk Museum, Amsterdam

We are very proud to announce that the Stedelijk Museum, a museum dedicated to modern-and contemporary art and design - located in Amsterdam - has included Clever°Franke’s Weather Chart series in its collection.With this series of posters, the Dutch data-driven agency investigated meteorological activities. Each chart is an experiment to push the boundaries of what is possible with open data, data science, visual design, and printing techniques.The agency’s co-founder Gert Franke: ‘Having our Weather Charts included within the Stedelijk Museum’s collection, our work of more than a decade will be preserved for the future.’

'The best place to build 
a life in English? 
The Netherlands.'

The Financial Times published an article about the Netherlands as a gateway to Europe. An interesting read, stating that 'the Dutch international mindset may be their biggest asset’. For example, if Brexit happens, the Netherlands will probably have the largest English-language university system in Europe.*The Financial Times article is subscription-only

'The best place to build a life in English? The Netherlands.'

South by SouthWest: 
Dutch Digital Design 
at New Dutch Wave

During the New Dutch Wave – an international trade mission celebrating top notch Dutch creativity and entrepreneurship at SXSW in Austin, Texas - Dutch Digital Design organised a session about Dutch digital design, moderated by Bert Hagendoorn – founder of the Dutch Digital Design collective. Two agencies from the Netherlands – Code d’Azur and Fabrique - spoke about their projects, and what makes Dutch digital design so special. In this video we briefly talk with Pieter Jongerius (Fabrique) and Erik Rave (Code d’Azur), about the Dutch creative mentality. Giving you an impression of the session at the same time.

Dutch Digital Design @New Dutch Wave, SXSW: in touch with the Dutch

How to design 
a crowdfunding 
campaign

Six years ago Dutch design agency Momkai teamed up with a group of idealistic Dutch journalists to crowdfund a different type of journalism platform: De Correspondent. $1.7 million was raised in 30 days to launch the platform: a crowdfunding world record. Later this year the English-language “unbreaking news” platform: The Correspondent - will be launched, having raised $2.6 million. Read Harald Dunnink's, founder of Momkai and De Correspondent, article about how to design a crowdfunding campaign, on your own terms.

How to design a crowdfunding campaign

<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/MDLS92TCRHc" frameborder="0"></iframe></figure>
A close collaboration between Media.Monks Netherlands, American fashion house Coach and the estate of American pop-artist Tom Wesselmann (1931-2004). Result: an amazing 3D digital journey into the world of this artist, showcasing his bold and beautiful artworks as well as the Coach collection featuring his work. Celebrating the collab between Coach and the Tom Wesselmann estate. 
The Pleasure Pursuit experience
An interactive storytelling journey through three main topics - Love, Wonder and Play - as featured in Tom Wesselmann's life and work. 
Coach's objective was to engage with their Gen Z/Millennials audience, and invite them to spend more time with the brand. Therefore, Media.Monks created a mesmerising and playful interactive experience where the user can discover the new Coach collection through a 'down-the-rabbit-hole'-like journey, and experience the artist's playful perspective on life at the same time. 
They also included a fun gaming element throughout the entire experience, inviting users to complete the journey with a chance to win an item from the Coach collection.
In-store, elements and visuals from the web experience were displayed on big screens in shop windows and on store floors. Stores also featured giant cut-outs of Tom Wesselman. With the web experience at the heart of the campaign. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/CaseSlide-2.jpg" alt="" /></figure>
Behind the scenes - the technology &amp; skills used
The Media.Monks team wanted to create a camera path where users could fly through the artworks. This meant that visitors would get very close to the pieces of art.
However, the actual artworks didn’t have a high enough resolution. Therefore, the team had to get clever as to how to use them. Using PNG images would have resulted in rough pixelated edges, unless they would have made them huge. This was not an option as it would have affected performance of the site. 
To ensure that the artworks maintained a high enough resolution, the paintings were projected onto 3D planes, and were then cut out using geometry. Following this, all 3D elements were placed in Unity - a 3D software program for creating games. The motion designers used this to create a camera path as seen in this journey. 
Everything is then converted to WebGL, so it can be experienced on any browser. Creating one smooth and unified experience without any visual compromises.
For those of you who are now perhaps a little lost, here's a short video giving you a quick insight as to how it was done:
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/o5SFzmfr8oY" frameborder="0"></iframe></figure>
 Behind the scenes - the creative &amp; development process 
<blockquote>How do we re-imagine and share Love, Play and Wonder as seen by Tom Wesselmann - without telling it in words as well?</blockquote>
According to the team, the most challenging aspect of The Pleasure Pursuit development process was figuring out how to populate a full screen while accommodating a fly-through camera path using fragments of original artworks. 
When cutting up the artworks to create layers, they found that the ‘holes’ it created, were not working for the level of immersiveness they were trying to achieve: the falling 'down-the-rabbit-hole'-effect. To solve that they had to come up with a solution to fill the gaps while maintaining the authenticity of the original artwork. 
They mapped out a storyboard of each scene in the experience. The initial ideas for the scenes were put in Unity where they could tweak the camera movement and the placement of artworks and additional graphic elements. The repetition of cut-outs and custom-made 3D and 2D scenes felt complementary to Tom Wesselmann’s style, and offered the solution. 
It made sense to play with the visual tricks the artist used himself: scale, cut-outs, composition and colour. 
<blockquote>After all, we are encapsulating the legacy of a visual artist.</blockquote>
The end result: an incredibly impressive 3D digital journey truly reflecting the artist's work and Coach's new collection - even more so when understanding the skills and efforts it took to create it.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/CaseSlide-4.jpg" alt="" /></figure>

Media.Monks

A truly immersive 3D journey created with passion and incredible skill

The Pleasure Pursuit

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/801639069" frameborder="0"></iframe></figure>
In close collaboration with the Amsterdam-based British photographer Jimmy Nelson and his team, Dutch creative digital agency Lama Lama created a stunningly interactive, mobile experience. Taking you on your own journey of Jimmy Nelson's beautiful and impactful work. A journey into the world of indigenous communities. Raising awareness of the importance of a culturally diverse and healthy planet, learning about unique cultures and traditions, and how to live in harmony with nature.
Lama Lama crafted the platform to form a bridge between the on-and offline worlds: an exhibition-like digital environment. The content featured in the experience is a selection from the immense inventory of Jimmy’s work that was at the agency's disposal. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/Frame-3.png" alt="" /></figure>
How it works 
You can navigate with your phone as a mobile compass through the world’s last indigenous cultures - from Siberia and Mongolia to Peru and French Polynesia. Featuring a movement-triggered 3-dimensional navigation. On your journey you are guided by Jimmy himself. 
Each community has its own chapter - capturing its culture in stories, music, photography, video and behind-the-scenes content. For each chapter, the agency created an illustrated card, inviting you to collect all and explore more.
Also, within each chapter you can seamlessly shop for art and books - benefitting the Jimmy Nelson foundation - through the integration of a headless shop. The product photography was custom-made to blend in with the platform’s look and feel.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/Frame-8.png" alt="" /></figure>
Behind the scenes: technologies used
Three.js is a JavaScript library for creating 3D graphics and animations in the browser. It provides a high-level API for working with 3D graphics, making it easier to create complex scenes and animations. With Three.js you can create everything from simple 3D models to complex interactive experiences. 
 
WebGL is a graphics rendering technology that allows you to create 3D graphics in the browser using the computer's graphics card. It provides low-level access to the graphics hardware, making it possible to create highly optimized and performant graphics. WebGL is used by Three.js to render 3D graphics in the browser. 
 
Tailwind is a utility-first CSS framework that provides a set of pre-defined classes that you can use to style your web pages. It makes it easier to create consistent and responsive designs, and it allows you to quickly prototype and build UI components. 
 
GSAP (Green Sock Animation Platform) is a JavaScript animation library that provides a powerful set of tools for creating high-quality animations. It provides a timeline-based approach to animation, which makes it easy to create complex animations with multiple elements.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/Frame-2.png" alt="" /></figure>
Behind the scenes: the team 

Enthusiasm is contagious. Everyone at Lama Lama was excited to contribute to the project. During the production, they felt total freedom to ‘do what we think is best’ to showcase this incredible indigenous journey by Jimmy Nelson. Bringing their A-game: maximum effort, focus and commitment. The result: an impressive, unusual and beautiful interactive mobile experience, taking care of every detail.
<blockquote>Beautifully crafted experience, full of amazing content. Keeps you interested throughout.</blockquote>
Awards
FWA Site of the Day CSS Design Awards UI SOTY CSS Design Awards SOTY Bronze CSS Design Award SOTM Awwwards Site of the Day Awwwards SOTY nominee

Lama Lama

Your own digital journey through the indigenous world

The Jimmy Nelson Compass

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/798693824" frameborder="0"></iframe></figure>
Amsterdam-based Antinomy Studio partnered with Blok - a brand new watch company based in New York City. Antinomy created a smooth and playful, custom-made e-commerce experience launching the Swiss-made kids' watch brand. Perfectly translating what Blok represents. 
About Blok  Blok is a D2C web-only selling brand. The brand’s goal is to bring kids’ watches to the highest level - design- and quality-wise. Without superheroes, fairies and bubblegum colours. They are built to take a beating, and last.  
<blockquote>We are parents, overgrown kids, watch obsessives, do-ers. We are exploration-addicted and curious. We’re all of these things and more - enthusiastically, unapologetically and all-at-once.</blockquote>
Antinomy developed a playful web design that celebrates this feeling of being young. Truly on-brand. 

<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/blok-1.jpg" alt="" /></figure>
Behind the scenes - the platform 
The studio designed a headless Shopify* centred around Blok's first timepiece: the Blok 33. The site features image sequences that animate the Blok 33 and play as you scroll. This helps the user - parent or child - understand how the watch and the rotating bezel work.
*Headless commerce is the separation of a website's front end from its back-end e-commerce functionality. This type of architecture gives retailers more freedom to customise and build anything they want. Brands can update the front end without touching the back end.
Antinomy's design reflects the playfulness and functionality of the Blok 33’s rotating bezel. The e-commerce platform is a natural extension of the brand and its products - merging playfulness with usability and user experience.
The website was designed and developed in a way that any future product releases can be easily implemented. The content blocks can be modified by the client when launching new products. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/blok-2-preferred.jpg" alt="" /></figure>
Behind the scenes - the people 
From a designer - in charge of the UX/UI and motion - and lead developer - who focused on integrating the headless Shopify solution into the web design, to a UI developer - in charge of front-end and animations - and producer for overal project management and client liaison.
The team behind this project was relatively small. The studio believes that working with a small team creates the best results as it makes communication easier, allows for transparency and no hierarchy. 
Result: a playful and smooth e-commerce experience truly reflecting this fun, high quality watch brand - appealing to both kids and parents.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/blok-4.jpg" alt="" /></figure>
Awards 
<ul><li>Awwwards Site of the Day</li><li>Awwwards Developer Award</li><li>Lovie Awards: Gold in Best Use of Animations and Motion Graphics</li><li>Awwwards' nomination for Best E-Commerce of the Year</li></ul>

Antinomy

For kids and parents: a playful, smooth online shopping experience

Blok

<figure><iframe title="vimeo-player" src="https://player.vimeo.com/video/783242847?h=c03df8ed6c" width="640" height="360" frameborder="0"></iframe></figure>
A great collaboration again between Dutch branding agency Build in Amsterdam - specialising in e-commerce - and Moooi - a Dutch international lifestyle and design company. The project was originally initiated during the pandemic when physical events were not possible. Therefore, an online launch to celebrate and reveal new products for Moooi was the only way. To raise awareness and lead visitors to moooi.com where they can also purchase Moooi's beautiful collection. 
However, as the first chapter 'Beauty Blooms' was such a success, the online campaign continued. Defy Gravity's imaginative and surreal online world is the second chapter, and showcases the Gravity Chandelier designed by British designer Paul Cocksedge. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/01-defy-gravity.jpg" alt="" /></figure>
The approach 
Build in Amsterdam created a mesmerising online brand experience - through a cinematic eye. Each scroll brings visitors deeper into surreal dreamscapes with tentacular chandeliers, slithering wall-coverings and tickling scents as main characters. 
The agency built a responsive scroll-based WebGL experience with PixiJS, mixing GSAP animations, shader-powered transitions, image sequences and interactive soundscapes- created together with Amsterdam-based KLOAQ Audio Design. (To totally submerge yourself in this experience, listen to the Defy Gravity-album by KLOAQ Audio Design on Spotify). 
 The underlying narrative is inspired by the name of the chandelier itself. Gravity guides the visitor’s imagination through the different scenes: the waterline flips over your screen, furniture hovers in what seems to be liquid air, decor elements assemble and re-arrange themselves like the many possible configurations of the chandelier.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/02-defy-gravity.jpg" alt="" /></figure>
Online brand experience
Moooi is all about 'A Life Extraordinary'. Their collection is original, unexpected, eclectic, rebellious and sophisticated. A perfect balance between commercial reality and culture.
 The online brand experience follows this direction by adding a multi-sensory layer. It is a nod to Moooi’s physical flagship store where you can touch, listen and even smell everything.
Each chapter - Beauty Blooms, Defy Gravity and the third chapter Paper Play - follows a similar structure with a sequence of interior moods and transitional moments the visitor has to scroll through. However, the soundscapes, interactions and overall content is completely different for each chapter. If you look at the end of each chapter, they are hinting at the next chapter.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/03-defy-gravity.jpg" alt="" /></figure>
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/04-defy-gravity.jpg" alt="" /></figure>
 Awards &amp; Features
<ul><li>Awwwards Site of the Day</li><li>Orpetron Site of the Month</li><li>Featured on Muzli - a design inspiration, news and trends platform </li></ul>

Build in Amsterdam

A mesmerising and 
surreal e-commerce experience

Moooi - Defy Gravity

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/677318735" frameborder="0"></iframe></figure>
 Superposition - a Dutch innovative design studio for interactive experiences - was asked by and collaborated closely with Amnesty International to create an interactive digital experience. To raise awareness about the use of Facial Recognition Technology (FRT) by the NYPD and the possible violation of people's right to privacy because of the use of this technology.
Superposition created an impactful data visualisation which shows the extent to which people in New York City are exposed to facial recognition by the NYPD. 
For example, tourists who walk from the Empire State Building to MoMA risk surveillance via facial recognition for 80% of their route. Also, in areas where communities are subjected to stop-and-frisk, people are more likely to be under surveillance via facial recognition. And FRT was used to track and identify people who participated in the Black Lives Matter (BLM) protests in the Summer of 2020. A protester risked surveillance via FRT for 100% of their route.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/March.png" alt="" /></figure>
How it works
The project allows people to interact with Amnesty’s research data. Making the data tangible and the consequences of the deployment of FRT in the public domain visible. It also offers them ways to take action.
Visitors can map out a walking route through NYC and see where along the route they may be exposed to facial recognition surveillance. There are also scenarios showing the correlation between exposure to FRT surveillance, BLM protests and stop-and-frisk sites as mentioned above. 
Then they are encouraged to email their local council if they are residents of NYC or sign a global petition to call for a ban on FRT for mass surveillance purposes.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/Interface.jpg" alt="" /></figure>
Behind the scenes 
Throughout the entire concept phase Superposition and Amnesty International worked closely together. From doing analysis on the research data to developing the narrative and the preliminary UX. 
During weekly sprint meetings, a lo-fi (low-fidelity) interactive prototype was tested and evaluated. The first and most important role of lo-fi prototypes is to check and test functionality rather than the visual appearance of the product. This method allowed for quick iterations while keeping the client involved in all (design) decisions, at all times. 
Besides the usual testing by colleagues, friends and relatives, Superposition had the prototypes tested by Amnesty’s Citizen Evidence Lab* and the students at Amnesty’s Cambridge DVC (digital verification corps)**. A diverse group of people who are eager to share their thoughts and experiences. Their responses were positive yet critical, offering quite a few learnings that could be applied in the next iteration.
*Amnesty International's Evidence Lab brings together investigators, engineers, developers and others to pilot new and expanding tools such as artificial intelligence, remote sensing, weapons identification and big-data analytics.
**Amnesty International's Volunteers for the Age of Social Media. The network consists of six universities – the University of Hong Kong, the University of California, Berkeley, the University of Toronto, the University of Cambridge, the University of Essex and the University of Pretoria. 
Technologies used Superstition built the online experience as a mobile-first, reactive web app, in order to reach as broad an audience as possible - from a researcher using a desktop to a hiker using his/her mobile phone. 


By using custom vector based map tiles and WebGL-based rendering technology, they kept the bundle size low to offer optimal performance. The bigger the bundle size, the longer it will take before a user can view an app.
 For geolocation and routing, the studio used a GDPR-compliant service to protect the visitor’s privacy.<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/Header-1.jpg" alt="" /></figure>
According to Amnesty International:
<blockquote>One of the biggest challenges of the concept and UI design was getting the balance right between exploring novel ways of communicating the research findings and, ultimately, driving people to take action. We achieved this balance.</blockquote>

Superposition

Facial Recognition Technology and our right to privacy

Inside the NYPD's surveillance machine

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/685920074" frameborder="0"></iframe></figure>
To celebrate their 20th anniversary, Dutch future-themed TV programme VPRO Tegenlicht asked Richard Vijgen - a Dutch artist/designer whose work focuses on artistic data visualisation - to create an experience that presents their broadcast archive of 20 years to the world, but also gives them a scenario for a future way to archive. Result: 'Through Artificial Eyes', an immersive, interactie installation using computer vision*. The installation was displayed at Het Nieuwe Instituut (HNI) in Rotterdam - national museum for architecture, design and digital culture - and is currently on display at Tresoar in Leeuwarden where it is applied to the Friesian audiovisual archive.
*Computer vision is a field of AI that trains computers to capture and interpret information from image and video data. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/2.jpg" alt="" /></figure>
The objectives
To explore what could be the role of computer vision (an AI technology) in audiovisual archiving. 
To raise awareness around the workings of a computer vision neural network to a broad audience. To demystify the behaviour of algorithms in a playful manner, enabling visitors to understand this often seen as black box technology where they cannot see the inner workings of an algorithm. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/3.jpg" alt="" /></figure>
The installation Visitors experience how the computer views the archive of VPRO Tegenlicht. How it searches for and detects certain patterns in 555 VPRO Tegenlicht's broadcasts. The installation playfully allows visitors to discover processes that are essential to computer vision and neural networks. They can dig deeper into the technologies by analysing how algorithms ‘see’ patterns in images or texts. 
<blockquote>A great collaboration between the physical space and digital design. The installation really invites you to interact: dialogue between man and machine. </blockquote>
Visitors can play around with the sliders and see what it does to the results. They are three categories: people, artifacts and natural objects. These categories are the three 'eyes' through which the algorithm observes the archive. 
The visitors can then set the 'confidence' threshold. Meaning how confident the algorithm needs to be for a certain result to appear. By playing with this, visitors can explore the limits of the algorithm. 
At the same time, it raises many questions about and exposes the ethical aspects of AI technology. Such as who decides which categories are being used, who labels the training data (through who’s eyes are we really looking?) and what are the implications of using this technology. 
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/4.jpg" alt="" /></figure>
Behind the scenes Studio Richard Vijgen used ImageNet as a source as it is used in many applications using computer vision. 
ImageNet is a visual database designed for use in visual object recognition software research, for training of large scale object recognition models. More than 14 million images have been hand-annotated to indicate what objects are pictured. 
By using ImageNet the studio wanted to show how the structure of Imagenet and the (cultural) perspectives embedded in it, are finding their way into current applications. They included as many categories as possible to highlight both the obvious and successful labels: recognising an apple or a boat. But also the more difficult ones like recognising a bad person or a Dutch person. 
Even though it is technically possible to train a computer by showing it lots of photos of 'bad people' (this is an actual Imagenet category), it is questionable and sometimes leads to controversial outcomes. Yet it is likely that this training data is used in existing applications, creating a rather biased and, perhaps, not truly realistic representation.

Richard Vijgen

Looking at audiovisual archives: understanding AI technology

Through Artificial Eyes

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/722337782" frameborder="0"></iframe></figure>
A close collaboration between Mobiquity Amsterdam, the International Anti-Fur Coalition (IAFC), Hexaware and the University of Westminster made it possible to launch this amazing digital fashion project: UNFUR. A digital fur collection to fight the fur industry - available to buy through an NFT auction. An innovative way to raise awareness about the still existing fur industry that is silently killing more than 100 million animals each year. Using the current hype around NFTs and the Metaverse. All earnings from the NFT auction will go to the IAFC. 
The UNFUR NFT collection consists of five unique digital fashion pieces - designed by fashion students from the renowned University of Westminster, London, UK. The entire project was completed in three months. From the garment concept, the digitisation of the fashion designs and animations to the generation of the NFTs and the complete marketing campaign including the digital campaign platform.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/unfur3.jpg" alt="" /></figure>
Behind the scenes: using sustainable technology
Each concept was meticulously translated from paper into 3D. Animated into a redefined interpretation of each animal’s natural habitat, and put up for auction on FLOW. 
In an effort to reduce the emissions created by an NFT auction, the entire UNFUR collection is minted* on the FLOW blockchain - a low-emission blockchain - requiring only 0.18 gigawatt hours (GWh) of energy. 
For the techies amongst us, FLOW is a developer-friendly blockchain - based on a multi-role architecture and designed to scale easily and fast to serve billions of users without sharding.
*The creation of new coins/tokens on the blockchain - through verification of data, creation of new blocks, and documentation of the verified information on a blockchain network.
<figure><img src="https://jgh.fra1.cdn.digitaloceanspaces.com/ddd/uploads/unfur2.jpg" alt="" /></figure>
The future of digital fashion UNFUR is a great example of fashion created in a different, less polluting way. At the same time it raises awareness for an important cause: it brings a positive change to animal cruelty in fashion.
<blockquote>Not just another NFT fashion project, but one with a great and meaningful purpose.</blockquote>
Therefore, digital fashion is here to stay. Big brands like Nike, Under Armor, Gucci and many others are making big investments in this market. New collaborations between brands, organisations and charities are creating new opportunities that are relevant to their more environmentally conscious audience. It enables a transition into a more sustainable fashion industry. 
Awards
<ul><li>FWA Site of the Day</li><li>CSS Site of the Day</li><li>Awwwards Site of the Day</li></ul>

Dutch Digital Designsharing the bestdigital work fromthe Netherlands Submit case

A truly immersive 3D journey created with passion and incredible skill

The Pleasure Pursuit

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Your own digital journey through the indigenous world

The Jimmy Nelson Compass

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For kids and parents: a playful, smooth online shopping experience

Blok

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A mesmerising and surreal e-commerce experience

Moooi - Defy Gravity

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Facial Recognition Technology and our right to privacy

Inside the NYPD's surveillance machine

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Looking at audiovisual archives: understanding AI technology

Through Artificial Eyes

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An NFT digital fashion auction for a meaningful cause

Unfur

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Immerse yourself digitally in the ancient empire of Persia

Persepolis Reimagined

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Understanding your feelings and emotions with the help of emojis

feelee app

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A sustainable, serverless website for a great cause

The Ocean Cleanup

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