AUTODESK: Recap x African Fossils
Creative Direction
Enterprise Cross Marketing
User Interface Interaction Concept Design
This interactive timeline, powered by Autodesk's ReCap® Pro, curates a Cloud–generated database of 3D archeological specimens dating back 20 million years. This partnership with Louise Leaky, the Stony Brooks foundation, and Autodesk showcases ReCap's ability to "democratize" reality capture.
AFRICAN FOSSILS
DISCOVERY
I worked with Autodesk on the launch of ReCap® Pro, a cloud–connected app with advanced features to generate geo–located textured meshes, point clouds, and orthographic photos. It also has powerful tools for high–quality mesh creation, viewing and editing.
I worked directly with the engineers to build tools and UI for the software, but when it came time to market the software, I looked for cross–marketing opportunities that would bring interest and engagement to this new platform.
Asa result, Autodesk partnered with Louise Leakey, a renowned archeologist who used the software to image real artifacts from her dig sites, and archive them as 3D specimens on the cloud. A timeline seemed like the perfect activation to showcase both the software and Louise's critical work.
SUMMATION / ROI
The key to this brand experience project is the custom typeface. This type is a variant on Oslo, a new typeface created for a Nike Concept Store in Oslo.
I wanted to look at how far we could stretch the company's familiar collateral to tell new stories in new ways, support new in–store experiences, and speak to entirely new customers.
I wanted a visual language that would allow us to position Nike as a sponsor of a major global event, specifically the 2020 Tokyo Olympics.
This format provided some great design challenges and encouraged me to be more playful and experimental to suit the unique Japanese aesthetic that often takes more chances in an effort to be more human.
In the process of exploring supporting elements, I ended up with my own logo submission for the 2020 Olympics. I find that most Olympic ID systems are highly financialized, with a standard of commercial legibility that often keeps them from being fun.
In having personal experiences in Japan myself, I felt obligated to create something more open to interpretation, emotional, and mysterious.