article

articles

artikel

artikelen

Audio

event

events

interview

interviews

news

nieuw

Nieuws

pics

picture

pictures

Podcast

presentation

questions

stage

video

video's

videos

<figure><img src="http://cms.dutchdigital.design/uploads/June_landscape.jpg" alt="June_landscape" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This time we would like to introduce you to June Park: Dutch Digital Design curator and senior designer at our partner agency Fabrique. We talked with June about the road to Fabrique, her life as an expat designer, and Biblio-graph. Dutch digital design work that inspires her. Biblio-graph is a powerful open source web application for the collaborative collection, editing and publishing of bibliographic data.
An introduction to June
‘I come from a very creative family. Both my parents are jewellery designers and creative thinkers. Creativity runs in the family, and I observed design from a very young age, from different angles. I loved creating something from scratch. I was always making things: drawing and doing paper crafts. And in elementary school I was already thinking about becoming a painter, interior designer or visual designer.
I was inspired by my father who was great at working with 3D programs. However, ‘flat design’ was initially more my thing. Therefore, being a graphic designer became my dream job. Nowadays, software for design is a lot more user-friendly - like After Effect and Blender. These programs are easier to understand, and giving me the tools to now also explore 3D and motion design.
Why did I leave Korea? I’m a curious person by nature, plus I was a different kind of designer than my family. I also felt the need to explore being a designer abroad. Explore design outside Korea, and exploring life outside Korea. 
Before starting my studies at the Design Academy in Eindhoven, I got an internship at Mediamatic - a centre for new art forms focusing on biology, food, sustainability and society, in Amsterdam. And I also did an intensive course at the Dutch Design Summer School Open Set - a two-week thematic program consisting of a series of intensive one or three day workshops, symposiums and film screenings - led by Dutch and international designers, artists and researchers. Here I came across Jan van Toorn - a renowned Dutch graphic designer, and Studio Dumbar - a well-known Dutch graphic design studio, and learned all about Dutch design.
Why the Netherlands? Because Dutch design was and still is hot and happening in Korea. Plus I liked the idea that the Netherlands was a small country like my own country. I was also attracted by the aesthetics of Dutch design. So, it made sense for me to further explore my design career here. It also helped that the Netherlands is very welcoming to expats.’
<figure><img src="http://cms.dutchdigital.design/uploads/9B9A3636.JPG" alt="June_Fabrique" /></figure>
The journey to Fabrique
‘Next to my interest in Dutch design, I also wanted to learn more about what’s in it for society as a whole, and how a designer can contribute to this. What is the role of a designer in this process. Information Design at the Design Academy in Eindhoven felt like the right course to do, as it explores the role of a designer in delivering a message. It was the perfect match between my interests and a career in design.
Also, in 2017 - the same time that I started my course in Eindhoven - Fabrique designed the Dutch Design Week (DDW) identity and campaign. It was my first introduction to Fabrique, and I was impressed. It made me curious, and I started Googling them. It was the first time I applied for an internship at Fabrique. Unfortunately, they weren’t looking for interns at the time.
After my studies, COVID happened. Stuck at home, I started to learn about coding and web design = new ways to create. Also, there was a high demand by museums to help them get an audience in a non-physical way. This resulted in a collaboration between a lot of freelancers, students and various museums. However, I started to miss working with people, and I tried my luck at Fabrique again. This time it was the right time ☺: I got a job as a junior designer at my favourite agency Fabrique!’
<figure><img src="http://cms.dutchdigital.design/uploads/Fabrique.jpg" alt="June_Fabrique_xmas" /></figure>
Being at Fabrique
‘I’ve been at Fabrique for almost four years now. My first ‘serious job’ after university in Korea where I studied ‘Visual Communication Design’ and my studies ‘Information Design’ at the Design Academy in Eindhoven. 
I love Fabrique’s work - especially within the cultural arena, our diverse teams and clients. From the moment I started at Fabrique, I was able to collaborate and contribute with both clients and across disciplines. That was great, because it gave me the opportunity to ask the right questions that are important for designing an effective User Experience (UX). Also, collaboration across disciplines is essential as I feel there are no strict boundaries between UX and User Interface (UI). It is all about creating the ultimate user experience: front-end, back-end, UI, UX, it all matters. Therefore, working in a fluid way - non-hierarchical - as we do at Fabrique, is important. Working together as a group to create an impactful, interactive user experience. 
The non-existence of hierarchy altogether here in the Netherlands - both in society and at work - was an eye-opener for me. I love that everyone works together here as a team - on an equal playing field! 
Straightaway I got the trust from Fabrique to experiment on a small project. And in time the projects grew in size. Fabrique’s motto: ‘If you want it, try it!!’ Always with the offer of help if you need it.
My first project at Fabrique that really inspired me, was Taalmuseum (Museum of Language). In 2022 we were asked to develop an online environment that would showcase language, to visualise language on every level. To take away all barriers. 
We started from looking at each language (irrespective of what type of language: human, animal, visual, spoken) as modular, as clusters. I visualised these language clusters as pixels - something that our developers then made happen digitally. I love how this interaction between disciplines works: we influence and listen to each other, in order to bring our client’s products digitally to life. Without this close interaction, as well as the support and trust from the client, this would not be possible. And for this particular project, we only had four months and a very tight budget - still we created something truly beautiful.’
<figure><img src="http://cms.dutchdigital.design/uploads/Taalmuseum-mockup.jpg" alt="June_taalmuseum" /></figure>
Working in the Netherlands
‘The Netherlands was a whole new world for me. Of course, there were cultural differences that I had to get used to. The Dutch - as known by most people - are very open, but also very direct. Initially it was quite challenging for me - coming from a culture where you do not have as much space to formulate and express your opinion. During my studies I was told to not be afraid and just do it. To not sit back.
A great example of my learning curve was my first oral exam here in the Netherlands. My professor asked a question. In Korea when you are asked a question by a professor, you don’t answer but listen and learn. His/her question is a formality. In the Netherlands I learned fast that you need to answer. Because my Dutch professor wasn’t too impressed by my silence. From then on I realised that I had to step up my game. 
I have an outspoken personality, so I do feel at home. I believe that I add value to a team, not just because of my expertise/talent, but also because of the different perspective I bring to a project and client. I have an intrinsic drive to learn about different cultures, and I come from a different culture. This offers a wider understanding of cultures, and a different way of looking at our diverse world. This is essential in creating or adding value and/or impact. It prevents people living in their own bubble. 
Diverse teams take Dutch (digital) design to the next level - outside that Dutch design bubble.’
Inspired by Biblio-graph
‘Biblio-graph is an open source web application for the collaborative collection, editing and publishing of bibliographic data. I believe it is a passion project by its two creators, Mariana Lanari - a performance artist, researcher and PhD candidate at the Amsterdam School of Heritage and Memory/University of Amsterdam - and Remco van Bladel - graphic and interactive designer, and I absolutely love it!
The project gives us a consciousness into archiving. This could be perceived as boring, but they take this to another level on biblio-graph.org.
I have followed Remco and his work for a while. His work is always unconventional and eye-opening which I like. Whilst following Remco, I came across biblio-graph.org. It is visually stunning and aesthetically pleasing. Also, I love the unconventional UX of the platform and the overall intention.
<figure><img src="http://cms.dutchdigital.design/uploads/biblio-graph.jpg" alt="June_bibliograph" /></figure>
To give you a bit of background, libraries are keen to digitise their archives. It is fascinating to think about what digitalisation actually means for these cultural institutions. How it translates. Especially as it is so different from the physical experience. It is interesting to see how they have explored to connect these two worlds with Biblio-graph.
How it works? It works like a mobile archiver unit: it copies books. You then have different view modes in relation to its author, its timeline, including the moments the book was read. It also archives/registers what people read when they are in the library. As I understand, they are currently working on further features, including online publishing tools.
As mentioned before, I’m intrigued by the process of digitalisation for cultural institutions. I like to understand its purpose, and am curious how this particular project started. What their ambitions were and are. And how it was funded.’

June Park: driven to create user experiences with societal impact

Dutch Digital Design curator: June Park from Fabrique

<figure><img src="http://cms.dutchdigital.design/uploads/1920x1080.png" alt="Morrow 1" /></figure>
In this interview, we shine a light on one of our Dutch Digital
Design partners: offering a behind-the-scenes look, sharing
Dutch digital design insights, or highlighting something they
feel the world should know. This month, we spoke with
Marten de Jongh – creative director and founder – of
Rotterdam-based boutique design agency Morrow (Part of
Handpicked). He shares why creators and brands should
listen to the younger generation and why Morrow made this
their mantra: 'Change for good. Hear the youth.'
An introduction

'In 2013, I co-founded Morrow with the ambition to be one of the first design studios to
combine strategic thinking with design. At the time, this was a unique selling point, but now
it has become standard in the industry. This pushed us to rethink how we could stand out and
define our identity as an agency.

The turning point came when we asked ourselves, ‘What really excites us?’ The answer:
working with young people. We evolved into a design agency focused on youth. Exploring how brands can connect with
them – not just by listening but by collaborating closely. We operate at the intersection of
culture, societal issues and commerce - with a penchant for street culture.'
<figure><img src="http://cms.dutchdigital.design/uploads/1920x1080-cases.png" alt="Morrow 4" /></figure>
What’s in a name?

Oxford English Dictionary: Morrow Now chiefly literary, archaic, and regional. Olde English. noun (&amp; adverb): The following day; the day subsequent to any specified day; tomorrow, the day immediately following today. Frequently in adverbial phrases, esp. in on (also †in) the morrow: on the following day. Marten elaborates: 'For us, it is about the future – tackling today’s challenges that impact
tomorrow’s generation. That’s how we approach every project, ensuring we create work
with a lasting impact.'
Morrow as a Creator archetype

In Jungian theory, archetypes are the foundational blueprints of human behaviour. The
Creator archetype embodies:

<ul>
							
							<li>Turning a unique vision into reality</li><li>Inspiring and innovating through creativity and imagination</li>
							<li>
								Pursuing ideals

							</li>
						</ul>
					
				
			
		
		
			
				
					
'Many agencies might identify as Creator archetypes, but for us, it is deeply ingrained in
how we work. We don’t just create ideas: we create the tools and structures that allow
collaboration between our clients and their end users. It is all about co-creation.

For instance, our WTFFF!? campaign for Fonds Slachtofferhulp (Victim Support Fund) - raising awareness about sexual harassment. By speaking directly to young people in places
like skateparks and train stations, we discovered how to approach this sensitive topic. They
influenced the tone, colour palette and overall direction. That is what we mean by genuine
co-creation: building meaningful experiences together.'
<figure><img src="http://cms.dutchdigital.design/uploads/1920x1080-case-wtfff.png" alt="Morrow 2" /></figure>
Change for Good. Hear the Youth.

'Our mission is to ensure that everything we create contributes to lasting, positive change.
That is what we mean by ‘change for good.’ The only way to achieve this is by listening to young people. Build a strong connection with
them during their formative years (ages 15–25), and they will stay engaged with you for life.
It is during this phase that they define their values, principles and identity.

What we create with them now has the potential to shape their lives - and, ultimately, the
future. This includes critical topics like sustainability, diversity and inclusion. These issues
play a significant role in shaping their mindsets, which is why hearing and learning from the
youth is essential.

Interestingly, many businesses focus on where the market is today, rather than where it’s
heading: the youth.'
How Morrow hears the youth

'We communicate differently. While we value data, we focus more on qualitative insights –
zooming in on emotions and feelings. Data is important but runs in the background. 
We don’t just analyse. We engage. For example, we recently worked with a start-up that
initially targeted hotels and bars. We encouraged them to shift focus to the young people
working in those spaces. The challenge was to make their product relevant to this group by
empowering them to feel confident and cool while using it. This reframing not only
resonated with the new audience, but also drove success for the client.'
<figure><img src="http://cms.dutchdigital.design/uploads/1920x1080-case-pourify.png" alt="Morrow 3" /></figure>
Morrow’s process

'At Morrow, we follow an iterative approach:

					
				
				
					
1. Explore – building connections, conducting field research, and engaging directly with the target audience 
2. Ideate – co-creating with clients and the youth, developing a shared concept with iterative feedback
3. Frame – reflecting on feedback to gain fresh insights
4. Create – iteratively bringing the concept to life together with the youth
5. Integrate – implementing the concept in its rightful context
At the					heart of it all is listening. Truly listening brings everything together.'
					
				
			
		
		
			
				
					
The future of Morrow

'Our future is rooted in our gut feeling: hearing the youth. This new proposition - launched in
January - is here to stay, because we genuinely believe in it. 
We are not chasing growth for the sake of it. We aim to grow together by delivering quality
and creating impact.

Our mission is to achieve lasting, positive change – not just for our clients, but for the world that we all share. That is what Morrow stands for. And that is how we will shape the morrow.'

Introducing Morrow: change for good, hear the youth

Partner in the Spotlight: Morrow

<figure><img src="http://cms.dutchdigital.design/uploads/Kamiel-cap-bw-16-9-1920x1080.jpg" alt="Kamiel Meijers" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This time we chatted with Kamiel Meijers - co-founder and creative director at 51North - a design and development studio in the South of the Netherlands and partner agency of the Dutch Digital Design foundation. We talked about where and how it all started for Kamiel in this industry, taking 51North to the next level and Vera van de Seyp - a Dutch designer and creative coder who currently works as a research assistant at the Massachusetts Institute of Technology (MIT). Let us introduce you to Kamiel and his digital world.
It all started with an interest in creating things, drawing and an uncle who gave Kamiel his first look into Photoshop - showing him the tips and tricks that got Kamiel hooked. Back in 1998. And his love for music - listening and creating music through a program called Fasttracker which ran on MSDOS. It gave Kamiel a taste of the immense range of options and opportunities within the digital realm: millions of colours and thousands of games. Specifically ‘point and click adventure games (by LucasArts). These were like a digital cartoon, mixed with solving puzzles. He loved the interaction - giving you a way to explore the story your way: driving your own cartoon. 
‘What I really loved was the fact that all these different disciplines were coming together: graphic design, audio and interactivity.’
So next came the decision on how to follow up on these interests career-wise. Technology fascinated Kamiel, but not only technology. It had to be creative too, however not too arty, and perhaps a little entrepreneurial too. Lucky for him a new course had just started: Communication &amp; Multimedia Design (CMD) at Zuyd University of Applied Sciences - the first CMS course in the Netherlands (2001). The course offered a broad programme, including an introduction into Adobe Flash.
‘Amazing! Design, animation and sound combined. Without too much coding involved. I made sure to delve into that a little deeper. Together with graphic design. And now it felt that I had the tools to make a choice: doing just any local part-time job or already starting something myself with these new tools I had acquired. So, that’s what I did. I did some moonlighting as a digital designer for a local concert venue - next to my studies. I was one of the first to be offering this in my part of the country. The south was originally more traditional than the rest of the Netherlands.’
<figure><img src="http://cms.dutchdigital.design/uploads/kamiel-werk.jpg" alt="" /></figure>
First steps into digital entrepreneurship 
‘Together with Marcel Bold - fellow student and now finance director at 51North - I started a studio with the name WebSpun Multimedia Crew - in line with our interests and hobbies at that time ;-). Later Daan Kusters - now managing director at 51North - also joined as development and hosting specialist. We also knew him from our studies. We worked well as a trio as the amount of work increased, and we could even start paying rent for a proper work space. This meant the birth of 51North in 2008. 51North is the latitude of Sittard, our home town. It also sounded a little mystical - as in ‘area 51’. Plus we already had dreams to expand internationally, so it had to be an English name.’
Being 51North
‘I am proud of where we got to. We have kept growing steadily. In 2015 Jaap Kraan - now partnerships director - joined us from DDB &amp; Tribal. To give us that extra edge and insights from the world of advertising. We moved from being hired as a freelance team working on other agencies’ projects to handling our own projects.
With regards to the team, we try to hire locally, look for local talent and offer internships to local colleges. We are also making every effort to have a diverse team. People from all walks of life. To give us a wider and more complete look of the world. This means we don’t only look at digital talent. If you have got something that works for us or for our clients, you could be the next 51North hire. For example, our technology director Kyle Adams has studied history, but is a self-taught developer.
We started off as a purely interactive agency. Now we have grown into an agency that can offer the whole digital journey - from design and visual to development of front-and backend. We connect the dots in the journey. Our mission is to turn anything that feels like a challenge to a smooth digital experience, or as we would like to say it: ‘we turn clunky into flawless.’
What does that mean for the team at 51North? We make sure that it doesn’t just look beautiful from the outside. It needs to be a flawless, evocative experience that connects with its users, and brings out emotion. We want to tell the whole story. For such an experience, the storytelling and the technology need to run flawlessly - from UX and motion to CMS and development.’
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/1014985127" frameborder="0"></iframe></figure>
What’s next for Kamiel?
‘As an agency I would like us to share and show (off) our work more. We have a tendency to be very modest. This suits us, but our work deserves more. I would like us to not just share a clean-cut showreel of our work, but an impression of how we are able to move fast, with the time. A look behind the scenes of how we solve challenges. How we work as a team/agency. How we make things. Our process of creating the optimal digital product. To share more in-depth insights.
As a person I would like to explore how different technologies - like generative AI - work together with other digital technologies. I would like to be able to create without having to get into code. In other words, I’m not a code guy ;-) I would very much like to look into how certain technologies can help make this less complicated and more accessible. Technologies like Figma for automating more repetitive design work, Spline for 3D animation, P5.js for generative art and ChatGPT, Adobe Firefly and Midjourney for idea generation. 
Also, I would like to look into digital projects that are more tangible. A combination of audio-visual and animation with more mechanical executions, like installations. Bringing technologies together. For a smooth, tangible emotive experience. Creating cross-overs from the digital world into the more tangible world. Bringing back more tactile experiences.
That also brings me onto the person I would like put a spotlight on: Vera van de Seyp. 
Vera van de Seyp
‘Vera van de Seyp is a Dutch creative coder and computational designer. A computational designer uses data-driven processes to optimise the various stages of the design process. Her work for Massachusetts Institute of Technology - a research university in Cambridge, Massachusetts - is truly experimental, but at the same time very tangible. Everything she does, is some sort of trial: the outcome can never be predicted.
For example, she did an experiment with a knitting machine and generative AI. Every pixel created by AI was a stitch. Those stitches became a full knit, and the knit became an animation. Result: a knitted animation that nobody could predict what it would eventually look like. 
<figure><img src="http://cms.dutchdigital.design/uploads/Vera-2-knit.png" alt="Vera knit" /></figure>
She researches what can be done with data and digital technologies. What are the boundaries? How can it be implemented in the real world? Would it be useful? It also takes away the fear for these technologies. By making it more tangible and transparent. It shows us the opportunities, and inspires new ideas. Ideas that can be turned into useful tools for clients.
I would love to invite her over for a series of brainstorming sessions for our Dutch Digital Design community. To use data and explore its boundaries. A fantastic mix of creativity and technology. And then to translate this to output in the physical world.’
<figure><img src="http://cms.dutchdigital.design/uploads/Vera-01.jpg" alt="Vera" /></figure>
What Kamiel believes in
‘My top tip would be to stick with what you truly love. With what makes you tick. This way you can develop your own style and taste, and substantiate what you do and don’t like. Don’t follow the crowd. Stand out. We live in ‘the age of average’. Look around what inspires you, and recreate this into something that is you. Look at ways to mix it up, and give it your own personal touch: make it unique. Look beyond the screen. There is so much more to get inspiration from. Get out of that vicious circle of all looking at the same things, on a screen. 
Also, I feel it is important to be passionate, open and sincere. Don’t hide behind arrogance. Collaborate with others. They will inspire you. A click with others is important
All of the above will allow you to be yourself, and develop your own creative self-confidence. That will feel good. 
That’s how I have been able to become the creative entrepreneur that I am now. Not to make bags of money, but to be able to do what I like doing most. I have created my own setting and culture. And it is still working for me after 16 years. Doing what I love and getting like-minded people to join our gang. For me, the perfect combination between passion, freedom and responsibility.’

Kamiel Meijers from 51North. Making the digital journey tangible.

Kamiel Meijers - Dutch Digital Design curator

<figure><img src="http://cms.dutchdigital.design/uploads/merlin-og-1920-1080.png" alt="Merlin main" /></figure>
Introducing you to one of our Dutch Digital Design partner agencies: putting them 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 is Merlin’s turn. A Dutch creative code boutique founded by Servin Nissen, Emiel Muis and Mees Rutten. Three fast-thinking GenZ’ers (or late millennials depending on which source you use) met at the Hogeschool van Amsterdam (Amsterdam University of Applied Sciences) studying Communication and Multimedia Design. Where a joint school project for the Dutch National Maritime Museum kickstarted it all. 
We chatted with Mees Rutten and Emiel Muis. Both creative front-end developers. About Merlin, their objectives and why accessibility - and ultimately user experience - is one of their main drivers, their go-to technologies, and what makes Merlin magical. 
Where is Servin? He prefers to operate more in the background, but both Mees and Emiel state that Servin is a coding genius and incredible creative.
<figure><img src="http://cms.dutchdigital.design/uploads/founders-1920-1080.png" alt="Merlin founders" /></figure>
How it all started
All three dipped their toes in the world of agencies as interns and developers - including Q42 and Monks. However, they were after more: more autonomy, more decision-making and more freedom. Being able and allowed to think outside the box, and not having to work in silos. They were after a place where they could be true creative technologists, not developers or designers only. 
As mentioned above, a project for the Dutch Maritime Museum started it all, and inspired them to take it to the next level. In 2018 Level30Wizards was born. Creating a website telling stories and experiences from the MS Oranje - a Dutch passenger liner and wartime hospital ship between the Dutch East Indies and the Netherlands - commissioned by the Maritime Museum. The website accompanied an exhibition called ‘MS Oranje, Koers gewijzigd’ (Changing course). Sharing stories and imagery of people who travelled on the ship after WWII.
They continued to freelance as a team for DEPT® - from Real-time 3D development for the digitalisation of Avans University of Applied Sciences’ Open Days to creating a real-time 3D web experience for the internal Inspiration Days event at Bol.
Together they collected a great portfolio, but they needed more structure and business guidance. This came in the shape of Rian Verhagen (10Nineteen, formerly Superhero Cheesecake and Born05) and renowned digital designer Robbin Cenijn. These two helped them take the next step, and create a brand that meant serious business: Merlin.

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/1010954942" frameborder="0"></iframe>
</figure>
From Level30Wizards to Merlin - creative code boutique
Introducing a team of digital wizards creating magic with code. Their roadmap: imagine, code, magic. Imagine what you would like. Create it with code. Resulting in magic: a magical experience. A streamlined, interactive brand experience that you haven’t seen before. 
For agencies and brands, Merlin can be a flexible layer that can be called upon for specific needs and challenges. A complete creative development team. That handles motion, development and digital architecture all in one. From concept to production. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/915967944" frameborder="0"></iframe></figure>
Merlin’s objectives: 1. accessibility
‘We always look how we can create impact. How a website can add value and be useful, but also innovative and sustainable. One of our main focuses is to ensure that everything we create is accessible for everyone. Visually, physically but also semantically. We always ensure that it complies with all accessibility requirements. Because every website and application should be accessible to everyone. We intrinsically believe in this, and will always go the extra mile for this.
For example, it needs to be clear what the function of each button and link is. And we need to consider that not everyone can navigate through a website using a mouse or trackpad, but might - for example - need a specialised keyboard to do so. The average user of a website is not aware of these issues. Therefore, there are web standards and guidelines for accessibility. At Merlin, we make sure we follow those.’
How do you make sure you stay on top of this, and know what’s going on?
‘We are extremely proud to be in a group of some of the best developers in the world: OkayDevs - who build incredibly impressive work, and who are often awarded in-and outside our industry. Within this group we discuss and share knowledge. We also read and learn constantly about different ways of working to ensure that, in whatever we do, we always consider accessibility. It’s an intrinsic concern, and we don’t see this as a gap in the market, but as a necessity. Because it is worrying how little is still done about this. It should be part of building every website or application.
We feel responsible to also educate our clients, and test everything internally before it goes live to ensure all of the above is considered and included.
For example, when building a website for Kim Kardashian and Jay Sammons’ consumer investment firm SKKY, it was absolutely mandatory we considered every level of accessibility and all internet accessibility regulations that exist in the US. For the user, of course, but also with regards to the high exposure of someone like Kim Kardashian who is likely to be sued if the rules are not complied with. Every design element of the website had to go under the microscope with regards to accessibility. And that is exactly what we did, because it is how we work anyway.’
Merlin’s objectives: 2. quality assurance
‘Everything we create needs to be pixel-perfect. This is mandatory in everything we build, and for any device. The experience for all users needs to be right. We will continue to tweak, in order to keep adding value. Until we are over the Merlin-threshold, which is 120% instead of 100%.
A great example of this is the Dior end-of-year campaign - a 3D WebAR experience. We developed a system that would automatically test each mobile device when running the campaign, ensuring that it would run smoothly. If needed, the amount of glitters would be reduced in order for the application to run smoothly again. This system works across a wide range of mobile devices, also ranging in age. For example, from iPhone 8 until 15. This automatic scalability didn’t just mean a smoother experience for all users, it also meant more users. 
WebAR is still in its infancy. We feel it is our duty to keep exploring and innovating, in order to offer all users the best experience.’ 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/1010943039" frameborder="0"></iframe></figure>
Merlin’s objectives: 3. Innovation
How is Merlin able to keep innovating?
‘For all our clients we offer a prototype process - a short burst of digital creation where we test and deliver something within two weeks. Throughout this process we learn a lot. We also organise a ‘Creative Day’ every month where we try and explore new technologies. We follow people who work on browser technology, so we are knowledgeable about new technology before it hits the market. As mentioned, we also gather and share a lot of knowledge through the OkayDev community. And we do, of course, have our own passion projects.
Our aim is to build immersive brand experiences that users will never forget. We will avoid at all costs that what we create, will become ordinary. Our experiences need to stand out, and, therefore, we always want to add value through innovation. Using the latest technologies if appropriate.
For example, using AI. For Heineken Asia we created an interactive campaign that was honing in the long hours people work over there - sometimes 16 hours per day! The campaign was called ‘A friend stuck in the office, is a ghost at the bar’. Based on the idea that you might be ghosted by a friend when he/she is stuck in the office working late, whilst a group of you are having a drink in a bar. With Merlin's tool, you can send them a video that is generated on the fly, transforming your friend into an animated green ghost, using their photograph, telling them that they're missed. We used AI on different levels: 1. Through machine learning the application ensured that the image supplied wasn’t offensive, 2. AI ensured that the eye/chin ratio from the head cut-out would be to scale, 3. an animated message was then sent to the ‘ghost’ friend. The added value for both Heineken and the friend? A free Heineken beer in a bar of your choice. A smart activation campaign.’
<figure><img src="http://cms.dutchdigital.design/uploads/ab0f3a71-7d5c-429a-aa38-469900c37fd8.gif" alt="Merlin Heineken" /></figure>
Merlin’s objectives: 4. technologies
‘We always use the latest technologies that work best for the purpose of an experience, not just for the sake of using the most innovative or popular technology. So, technologies that we use a lot are, of course, HTML, JavaScript and CSS, WebGL for 3D animation and graphics, and frameworks like Svelte, React and Vue. We explore for each project what is the most appropriate. We feel there are no technological boundaries. Because of our wide knowledge base and intrinsic curiosity. For example, because we know how to programme, we got our heads around Python AI very quickly.
We never go for a quick fix. We are always looking for better, and to create an experience that is bespoke for that particular brand and its users.’
Merlin’s objectives: 5. animation
‘Obviously all of our objectives matter to us greatly, but, like accessibility, animation matters to us a lot. For us, it creates the magic. It adds value to a brand experience. It gives users a sense of direction, plus it makes the experience more interesting. Users will want to spend more time with the brand. Movement invites users to explore more, to keep looking. And animation isn't just restricted to visuals and graphics, but can also be used in text.’<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/1010954583" frameborder="0"></iframe></figure>
To summarise, Merlin in a sentence or two...
‘We are a flexible group of hybrid creatives that create immersive brand experiences. We are at the cutting edge, or intersection where creative and technology meet. We always want to take that one step further, dig a little deeper. 
We do not think or work in silos. We look at the overall production process - from concept to execution. Ensuring that concept and technology work well together at the highest level.
We work like a professional sports team: bringing out the best, together - with a common goal: making digital magic.’
<figure><img src="http://cms.dutchdigital.design/uploads/footer-1920-1080.png" alt="Merlin footer 2" /></figure>

Meet Merlin. What makes their work magical.
Imagine. Code. Magic

Partner in the spotlight: Merlin Studio

<figure><img src="http://cms.dutchdigital.design/uploads/HEADER.png" alt="AI what our partners say" /></figure>
Artificial Intelligence (AI). Everyone is talking about it. From governments and big tech to people like you and me - all over the world. But how and why do we use it? Does AI make the world a better place? A world that is more efficiently run, because AI is saving us time - with our work and perhaps the way we live our lives. But do we really know what it does and how it works? 
We sat around the (online) table with some of our Dutch Digital Design partners. In this second round we were joined by Niels de Keizer from FONK, Mees Rutten from Merlin, Geert Eichhorn from Media.Monks, Kasper Kuijpers from Your Majesty - and Sandjai Bhulai, professor of business analytics, and Jesper Slik, Lead VU-Pon AI Lab*. Two statements, lots of opinions. 
Statement I: AI makes us work more efficiently. Statement II: AI can make the world a better place. Who is responsible?
Together we talked about what these statements mean to us, as well as the challenges AI throws at us, and how we can address these. Are we, creators, also responsible for what and how AI creates? Are we - together with AI - able to make a positive impact?
*VU-Pon AI Lab: Pon and VU (Vrije Universiteit Amsterdam) are embarking on a mission to address societal challenges through the power of artificial intelligence. Fostering collaboration between industry, academia and other partners. Unlocking innovative solutions to make a lasting impact, and leveraging these technologies for Pon.
How creators think about AI
Sharing these two statements with the group initiated an interesting and insightful conversation. Who is in charge of ensuring that AI is used in a responsible way? Do we close our eyes, and hold the big tech companies responsible? And what is our main focus at the moment concerning AI? Are we just using AI to make our way of working more efficient? Our round table participants were pondering about these topics, and also threw some more food for thought on the table.
Niels (FONK) starts off with saying that he believes that everyone should be held responsible. And that we definitely need to think about ethics. Because AI is here to stay whether we like it or not. Therefore, we need to invest in the future by discovering, reading, learning and doing as much as we can about AI.
Mees (Merlin) adds that we need to improve this invention, and take away the fear by making people more aware of all its opportunities, but also its pitfalls. Making it more transparent. Because AI is made to make work/life easier, and our way of working more efficient. And in the long run it might make our jobs more interesting, or even create more interesting jobs. Kasper (Your Majesty), however, is a little more concerned. He already sees jobs shifting - with a focus on earning money. A representation of today’s world. AI systems are also programmed that way - based on existing data.
On a note of creating more transparency, Geert (Media.Monks) - an innovation director in charge of research and development in this area - shares his concerns about AI on a business level. He believes that in five years’ time the workforce in marketing will be reduced by 40%. Perhaps more scalable and efficient, but also offering a different level of quality: we will be looking at bulk advertising versus crafted/handmade content. He believes that we should not compete with AI tools, but embrace them, in order to fully understand and work with them. He also points out that most AI systems are not yet profitable, and that the big tech companies spend billions of $ on investment in AI. This is not yet feasible for smaller companies and agencies.
Considering all of the above, all members of our round table feel that creators should be more socially responsible for the output AI creates, how AI creates. And that we should not just focus on efficiency and optimisation. However, ethical issues/topics are tricky to manage. And who is responsible for that? Governments or all of us? Currently those who have the most money, build and control AI systems. Like Meta and Nvidia’s LLAMAs. They still determine the status quo. But perhaps we, in the creative industry, can manage the output with the knowledge we have of AI.
Geert truly believes that when the public is tired of the same generated images, there will be a demand again for handcrafted materials. Sandjai (Pon AI Lab) is not so sure, and wonders whether a new generation will get used to this quality, and that this will become the new norm. Because, as mentioned before, values in today’s world are shifting. People who do not really belong in the creative sector, will see a chance to create purely to earn money. They see a gap in the market. Kasper doesn’t think that this is all bad, as it is also making the creative industry more accessible. For example, people who cannot draw, but have an eye for design and a good amount of imagination, can now also be part of our industry. This would be a new type of creative direction, and not necessarily a bad move, according to Kasper. Breaking down existing boundaries.
Does this come with a risk? Because this new structure is still unknown. And who is going to monitor this? Niels fears that consumers will drown in even more digital noise, and that it will become increasingly hard for brands to distinguish themselves. 
<figure><img src="http://cms.dutchdigital.design/uploads/unnamed.gif" alt="AI - Geert Eichhorn - Media.Monks" /><figcaption>AI by Geert Eichhorn - Media.Monks</figcaption></figure>
Is AI smarter than humans?
As Geert points out: these large image models are not owned or created by Media.Monks. However, they are able to fine-tune the input, and then observe and monitor closely. 
Niels agrees. They are also trying to fine-tune the input as they do not have the time, money or data to develop their own AI models. They research which prompts and context they need in order to create the right output. This involves a lot of exploration, and also the need to attract new talent: prompt engineers and/or linguists.
Large language models use and train the data that has been put in. It is a biased impression of today’s society. Unfortunately, this often means mostly patriarchal output and an abundance of white males. Creators of AI models are aware of this, but also an increasing number of the world population, and this pushes these manufacturers to take responsibility to change this bias. For example, by including a prompting tool within their model. It also asks for guidelines to indicate whether something is right or wrong, what is allowed or not. Mees gives another example where guidance is desperately needed: body-tracking apps do not recognise all different types of bodies, and, therefore, create bias when using these types of apps.
Everyone around the (online) table agrees that it is our joint responsibility to raise awareness around the subject of AI. To avoid bias and create more transparency around this technology. In order to enable everyone using AI to make better choices. Kasper adds that agencies should also do this with their clients - from onboarding onwards: thinking, exploring and making it happen together. He also suggests that within an open source environment, techies all over the world can brainstorm/discuss how AI works, and how to make it more socially responsible, together with AI engineers. In order to obtain different views - non-biased views.
<figure><img src="http://cms.dutchdigital.design/uploads/VerhaalSpeciaal.jpg" alt="AI - FONK" /><figcaption>AI by FONK</figcaption></figure>
Fine-tuning data for less bias
Jesper (Pon AI Lab) reiterates that AI only sees data, and is not biased. The data is biased. You can fine-tune the data to change the output. Therefore, as mentioned before, the responsibility starts with the makers of AI tools. But they have no guidelines to work with, and their clients tend to want output according to their wishes. This is dangerous and biased territory. And rules need to be introduced. Government policies and guidelines are needed, in order to determine and introduce standards. However, everyone has a role to play when putting together these policies: government, makers and clients. 
Sandjai adds that this responsibility is layered:
<ul><li>Makers need to avoid bias, and, exclude discrimination in this way</li><li>Users need to know how to use tools properly</li><li>Government needs to regulate well</li></ul>
A European AI Act was passed in March 2024. With a very broad approach, and a classification by high and low impact. By mid-2026 all regulations should be in place. 
A short AI tutorial by Sandjai: an AI model is driven by a large amount of data, and is, therefore, mostly generic. It needs to learn everything, and represents the norm. Unless it is trained for a specific purpose, with specific data. You will need specialists to do this, in order to make the output more specific. 
Jesper illustrates this with an example of generative AI in supply chains. How operating systems are also biased in relation to demand and pricing. This is very difficult to spot in an AI automated system, and needs to be monitored closely in order to prevent this happening. An example of this type of bias: white Barbie dolls are in higher demand, so the price automatically goes down. A coloured Barbie doll is in lower demand and, therefore, the automated supply chain system will increase the price of this doll automatically.
Conclusion: as long as we are all becoming more and more aware of the process that entails AI, we should be able to prevent it or at least detect it being biased. Therefore, the responsibility lies with everyone.
<figure><img src="http://cms.dutchdigital.design/uploads/574151_ambrosius-bosschaert-james-turrell-tatsuro-kiuch_xl-1024-v1-0.png" alt="AI - Kasper - Your Majesty" /><figcaption>AI still life by Kasper Kuijpers - Your Majesty</figcaption></figure>
Raising AI awareness
Throughout this conversation it is becoming clear that not only can we - as creators - be in charge of making the output of AI more socially responsible, but that we should also raise more awareness amongst its users, and especially for those users that do not know all the ins and outs of digital technology. Education will be an important part of this. For clients and the general public.
An interesting fact: AI tools are mostly trained in the United States. A country with a different culture and values to Europe and the rest of the world. Therefore, the output might not be suitable for every country. Another example: the NY Times got sued for using text generated through Open AI within an article: a copyright issue. Whereas in Japan there are no restrictions at all with regards to what material is used to train an AI tool. There is no copyright. All of the above is important to consider when working with AI. Different strokes for different folks.
Geert and most of our panel believe that governments are moving too slowly. Regulations are soon outdated as technology is moving (too) fast. Therefore, we as an industry can be responsible for ensuring that we monitor and create the right input. Not without risk, because doing it ourselves without the right knowledge also means a high probability of generating bias.
So, technology moves too fast for governments, and definitely too fast for consumers to understand, according to Mees. He points out that despite of the this, consumers are using AI, and wonders if this - despite the pitfalls - will eventually just be the norm, and we will all get used to it. Which perhaps makes it a job for the creative industry and their clients to raise awareness right now about these new technologies, including its advantages and disadvantages, create transparency and educate the public. 
Kasper suggests a possible partnership between the Dutch Digital Design foundation - as this is a close-knit community of creative digital agencies who know a thing or two about technology - and SIRE - a Dutch independent foundation for raising awareness amongst the Dutch public for social issues and topics. Sandjai responds that there already is a Dutch AI Coalition (Nederlandse AI Coalitie) that offers AI courses. However, the participants are mostly tech savvy, and not the people who need the education. This probably means that it is not offered in such a way that appeals to an ordinary audience. How do we reach those people? This is definitely something to think about.
Niels is thinking about a shift in jobs within agencies. To look for people like prompt engineers and other experts in AI technology. Those who can drive models properly, and are good with language and technology. So the right questions (prompts) are asked. Linguists and copy writers come to mind here. He also mentions collaborations with higher education institutions, universities and scientists. Geert adds that to get the most out of AI models we need to explore all the technical options that are possible at our end, like creating a data set from scratch and training this dataset, as well as creating correct prompts. To make AI tools more context-aware and user-friendly.
Sandjai is of the opinion that the actual AI models are not going to be adjusted as much anymore. Therefore, he believes that there needs to be more focus on the work flow around the model - how we can fine-tune the data to enrich the model, and to develop better and richer prompts. 
To achieve any of this, collaboration between different fields of expertise is important - from AI engineers and scientists to linguists, prompt engineers and agencies. 
<figure><img src="http://cms.dutchdigital.design/uploads/ab0f3a71-7d5c-429a-aa38-469900c37fd8.gif" alt="AI - Merlin" /><figcaption>AI by Merlin</figcaption></figure>
The all-important question: can AI make the world a better place?
We can conclude that there is not one definitive answer. Niels, Mees, Geert, Kasper, Sandjai and Jesper all see the opportunities AI brings. When used correctly, a better world might mean a more efficient world and, ultimately, a less biased world. However, the stakes are high. 
Not everything that is possible, needs to be done, are the wise words from Sandjai. He gives us a few examples of what positive impact AI can bring us. Through AI optimisation of the supply chain by certain airlines, wastage of flight meals is reduced. This process can be used in different industries to reduce waste, and in this way AI can help the world to be more sustainable. A definite positive impact. Or for example in Ethiopia, where AI helps optimise the fertility of the land: AI-powered soil testing amplifies farmer productivity and climate resilience. There are many use cases where AI shows its positive impact. It is down to us to use it responsibly.
Despite the overall positivity, Geert also wants to highlight the pitfalls so we stay aware. Technology is becoming more and more accessible (not user-friendly or transparent), and this also makes it more accessible to ‘bad actors’. Mees believes that AI holds a magnifying glass on communication: there is a lot more disinformation. However, we also receive good information faster.
Overall, we are not really prepared for what is coming. Although Geert feels that the Netherlands are ahead in understanding and working with AI, and aware of the impact it has. Therefore, we could play an important role, and take our responsibility to prepare and plan for this transformation. There needs to be a strategy on how to move forward. 
Jesper concludes that we need to seize the opportunities, but that it is up to us humans what we are going to do with it. He states that humans are super-biased. So, perhaps we can turn this around, and use technology to create less bias = a better world. That is definitely one to think about!
Yet another insightful discussion - moderated and written up by our lead editor Nicole Pickett-Groen. Creating some momentum in thinking about AI: what it means to the world and the creative industry, and to see how we can contribute in using AI in a responsible and transparent way. One where it was generally felt that we - as a digital creative industry - definitely have a role to play in making AI more transparent by educating our clients and the general public. A discussion that we should definitely continue. Here in the Dutch Digital Design community, but also with our clients, our fellow-designers and partners in other industries.

Who's in charge of making AI more socially responsible?

AI and social responsibility. What our partners say.

<figure><img src="http://cms.dutchdigital.design/uploads/Your-Majesty-Logo-1045x588.jpg" alt="YM logo" /></figure>
Introducing you to one of our Dutch Digital Design partner agencies: putting them 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 is Your Majesty’s turn. Georgios Athanassiadis - managing partner - and Alexia Boiteau - art director and design lead - from Your Majesty talk with us about Your Majesty, the agency, and its culture, but also about the importance of branding, and keeping your brand fresh and in tune with your audience and time. A subject close to their hearts: they have just refreshed their own brand or - as they like to say - they are expressing their brand differently. The reasons why you will read further on. So, without further ado, let’s chat Your Majesty.
Introducing Georgios and Alexia
According to etiquette, we are starting with a brief introduction from Georgios and Alexia - both very royal and fitting names for such a royal sounding agency. Luckily no protocol and ceremony here, just an easy-going conversation.
Georgios is not only managing partner, but also co-owner of the agency. He was born in Sweden, and studied design and programming at the renowned Hyper Island in Stockholm. Putting everything he learned in practice during his internship at Your Majesty in New York. He fell in love with what he calls ‘the Willy Wonka factory of branding and digital design’: all these super-talented people together in one building, creating all sorts of beautiful experiences. The rest is history: he stayed. Since then Georgios has worn almost all hats in the agency - from web development and creative direction to strategy and client services. Nowadays, he mostly focuses on business development, marketing and Your Majesty’s high-level strategy. 
How did he end up at Your Majesty in Amsterdam? 
Kasper Kuijpers - co-owner and technical director - moved back to Europe to set up a Your Majesty office over there. Georgios joined him. Initially for six months only. It is now 2024, and they are still going strong.
<figure><img src="http://cms.dutchdigital.design/uploads/YM-DutchDigitalDesignArticle_georgiosPhoto_1920x1080.jpg" alt="YM - Georgios" /></figure>
Alexia was born in a small village in the French mountains. She always felt inspired by ideas-led Dutch design, and always liked the idea of going to work and live in the Netherlands. She started as a junior graphic designer at Dutch design agency Studio Dumbar, and came to Your Majesty after almost ten years at digital driven agency Fabrique. These agencies have formed and inspired her approach to design. Her main drive is to challenge the status quo, and encourage a different way of thinking - for her team and clients.
<figure><img src="http://cms.dutchdigital.design/uploads/YM-DutchDigitalDesignArticle_alexiaPhoto_1920x1080.jpg" alt="YM - Alexia" /></figure>
About Your Majesty
Where does such a regal name stem from?
The original founders of the agency - also from Sweden - grew up with adventure movies like Excalibur, Indiana Jones and Ivanhoe. They loved the idea of secret orders as portrayed in those movies. Names like King, Queen, Knights of ... were all considered. However, they also wanted the name to tell a story, and represent their roots. They landed on Your Majesty - as an ode to the Swedish monarchy and something that felt bigger than themselves. Their mantra: to unite the curious. Creating a place where great work is made by talent from every corner of the world.
This mantra is still very relevant for Your Majesty in 2024. Uniting the curious: ten different nationalities with a global perspective. Exploring together what great work really means. It is not only creating great work for clients or about making money. It is about being at the forefront of design, technology and innovation. And also having a good work-life balance. A balance and mix of the love for their craft, friends and family, and helping others. This might sound a little fluffy. But - to put it simply - for them, an agency is a group of people helping other people (read: clients) get what they want. Therefore, this group of people has to reflect different ideas, cultures and craft, in order to help and create value for all of their clients. And, foremost, to be curious in what is next, and creating something new and of value - together. Always challenging yourself, but also the industry.
Let’s talk about branding
How do you define branding, and why is it so important?
Alexia: ‘Branding consists of two aspects: brand strategy and brand identity. The brand strategy is the personality of a brand. The brand identity is the expression of its personality. How it looks, how it speaks, how it moves and how it sounds.
The most important thing for a brand to be memorable and successful is its attitude. Attitude refers to the set of personality traits or characteristics that are attributed to a brand. Those shape the way a brand presents itself and interacts with its audience. It influences how the brand is perceived by its consumers and the wider public. It should shine through in every interaction, at all touch points - throughout the entire customer journey, but also in the ethics and overall demeanour of the brand’s communications and actions. A true synergy of brand strategy and identity. This plays a pivotal role in building brand recognition, loyalty, preference and differentiation from competitors.
However, beyond this, it also creates a cultural impact. In a branded society, brands can influence and shape culture. They can become part of people’s lifestyles. Brands that manage this, move beyond just the commercial sphere. 
Georgios: ‘To add to this, humans don’t have time to make considered decisions about every aspect of their lives, including which company or product to choose. We would be exhausted. That’s why branding is so powerful: it creates mental shortcuts, so people instinctively know what they like and can expect from a particular brand, product or service. It creates recognition. 
If done right, it also makes the brand harder to copy. Without branding, a brand/product/service will be interchangeable with a similar brand/product/service. But if you build memorability (read: powerful branding), people will instinctively reach for your brand. Strong brands evoke feelings and aspirations in people, and often help them feel better about their decisions.’
<figure><img src="http://cms.dutchdigital.design/uploads/Your-Majesty-GARRIXON.avif" alt="YM Garrixon" /></figure>
Branding &amp; AI
Georgios: ‘The rapid advancement of AI will change our industry as AI tools are now able to create like professional copywriters, designers, photographers and other artists. 
However, these models are trained on things that already exist. And even though they can create output that will look very good and even professional, there will eventually be a sameness across brands. Therefore, powerful branding will be even more important. To create distinct brands that stand out in all this sameness, and can succeed in the world of AI.’
Alexia: ‘Brands’ engagement with AI must be well thought through, and aligned with their core values, in order to maintain their voice, but also to follow their ethos.
AI is a cultural phenomenon, not just a technological advancement. Brands need to be aware of not only the positives but also the negatives of AI, like homogenised content, perpetuating biases and the ethical considerations of the datasets used. Brands need to be proactive In addressing these issues. Ensuring that their use of AI positively contributes to cultural diversity and integrity.’<figure><img src="http://cms.dutchdigital.design/uploads/Your-Majesty-DDD-Otrium.gif" alt="YM Otrium" /></figure>

Time for a refresh
Why is Your Majesty refreshing its brand?
Georgios: ‘We have been in business for 17 years. That’s like 45 years in Internet years. We have updated our identity three times - each update marking a new era in the company: moving from digital production house to creative agency, and to brand experience and digital product agency. 
Since 2018 we have refined our offering, and chosen a narrower sector specialisation: ‘Your Majesty powers brands and digital products for fashion and technology pioneers.’ We felt it was time to evolve the brand to embody this specialisation - incorporating the fashion’s industry’s elegance and luxury with technology’s can-do attitude and innovation.’
Alexia: ‘Our values have stayed the same, and our purpose is still ‘unite the curious’. However, we are now expressing it differently. We are doing this because we need to stay relevant within our industry, and keep up with contextual change - just like any other brand.’

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/945732597" frameborder="0"></iframe></figure>
Unite the Curious
Georgios: ‘Your Majesty operates through a mindset of curiosity. It is about seeing opportunities where others see obstacles, and having the courage to jump in before everyone else does. Everyone is born curious, but as we age, this quality diminishes. It takes time and effort to stay curious throughout your life.’
Alexia: ‘Curiosity drives a conversation beyond what you already know - beyond just design. To find fulfilment and joy in the pursuit of mastery: the constant desire to get better and better at something that matters to you.’
So, what advice do these two curious people have for curious talent?
Georgios: ‘Maybe a little controversial - especially nowadays, but show up in person. Sit with and learn from the people in the office. Including people that you don’t necessarily work with on a project level. You don’t just learn from doing the job on the screen in front of you. You learn so much from being exposed to the creative work and unexpected inspiration you get from the people around you in the real world.’
Alexia: ‘Take time to learn for the sake of learning and not for the sake of peer recognition or success. Look around you. See what works. Accept feedback. Allow yourself to learn and fail. Otherwise you might miss out on actual learning, and not have the fundamentals. Or the tools to challenge yourself. It is important to know and build your designer-self. This takes time.’

Your Majesty: about branding and uniting the curious

Partner in the Spotlight: Your Majesty

<figure><img src="http://cms.dutchdigital.design/uploads/DDD-interview-1920x1080.jpg" alt="Partners about AI" /></figure>
Artificial Intelligence (AI). Everyone is talking about it. From governments and big tech to people like you and me - all over the world. But how and why do we use it? Does AI make the world a better place? A world that is more efficiently run, because AI is saving us time - with our work and perhaps the way we live our lives. But do we really know what it does and how it works? 
We sat around the (online) table with some of our Dutch Digital Design partners. In this first round we were joined by Simon Sitanala from Bravoure, Job Deibel from DEPT, Anton Lamberg from Lava, Tijmen Mulder from Robot Kittens - and Sandjai Bhulai, professor of business analytics, from VU-Pon AI Lab*. Together we talked about how and why these creators use AI in their work, as well as the challenges AI throws at us, and how we can address these. Whether we can create innovative solutions with AI that can make a positive impact.
*VU-Pon AI Lab: Pon and VU (Vrije Universiteit Amsterdam) are embarking on a mission to address societal challenges through the power of artificial intelligence. Fostering collaboration between industry, academia and other partners. Unlocking innovative solutions to make a lasting impact, and leveraging these technologies for Pon.
AI according to our partners
AI is here to stay, but what do we all think AI really is? Are we able to explain what AI is in easy-to-understand terms? Let’s put our partners to the test, and see what they come up with.
‘AI is software that mimics the human brain’. ‘It is a black box simulating human culture.’ ‘A continuously changing system that carries out tasks, and makes us work better and faster.’ ‘Some of our clients are still a little scared of AI, so we talk about algorithms or machine learning, not AI.’ 
Sandjai explains that ‘the software does not mimic the brain, but the effects of the software do. It is how we program the software to carry out tasks. Tasks that mimic human cognitive skills. As if carried out by a human.’ 
Perhaps Sandjai’s explanation is the clearest, but still it shows that even people who are using digital technologies on a daily basis, including AI, aren’t finding it easy to explain what AI really is. It is not transparent how it works, but still we use it.
<figure><img src="http://cms.dutchdigital.design/uploads/AI-picture.png" alt="Sandjai AI" /></figure>
AI used by our partners
So, why are our partners using AI? And what tools specifically. 
Simon: ‘AI enables me to work faster. I use it to carry out small tasks. It helps me generate ideas and create mock-ups for pitches. For example, I use Image Generator to create an image from a text description. And I build my own GPTs*, so I can talk to it to help iterate ideas. This way I can get to the right ideas and/or conclusions faster.’ 
*Generative Pre-trained Transformer - an advanced form of artificial intelligence which has the ability to understand, analyse and generate human-like text
Anton: ‘We use it to take away all the boring things, so we can focus on the creative process. For example, we use an AI profiler to speed up code. However, we are protective of the creative process. We like it to remain for us humans. But, of course, we do experiment with AI.’
Job goes on: ‘We use AI on different levels. To elevate our content production process. To build generative* AI recommendation systems dealing with proprietary company data to create personalised human conversational interfaces - like chatbots and voice assistants - and integrate this within a platform or app. We mimic this process to also create more predictive models using more traditional machine learning.’ 
*Generative AI vs predictive AI: generative AI can create various types of new content, whereas predictive AI uses historical data, makes predictions (read: content) about future events based on this data.
Tijmen: ‘We use AI mainly for what we believe are the more mundane things. For example, for text to speech we use ElevenLabs: brilliant for multilingual projects. We also use AI tools to create music which is then almost production-ready, and tools like MidJourney, Leonardo and Stable Diffusion to create images, but for concept development only. We are not yet trusting the quality of images created by AI to use for real production purposes. We also generate QR codes with AI, and use ChatGPT for translations.’
Sandjai: ‘We use AI to summarise text, also ElevenLabs for voice uploading, and Heygen for creation of avatars. For the recording of video-instructions for our students we no longer having to spend time in a studio, but use generative AI. This is much faster.’
AI &amp; creativity
It is clear that these creators believe that AI will make, and is already making, them more efficient in their work. Taking out the boring, more mundane tasks. But is there any hesitance in using AI for creativity?
Simon starts: ‘I use AI as much as I can. I am not wary using it at all. I hope AI will make me better at my job. We need to learn to work with it and embrace it. If we are using the right tools, it will only make our creative work better. You need human knowledge to use these tools properly, and get something out of it. Also for quality control.’
Job: ‘We have a rule that we only use AI for tactical work, not for strategic work. Strategy is for the human brain, but the tactical will often be faster and more efficient by using AI. Because all these AI systems work the same: the better the input, the better the output. It needs good quality content to complete the task. This way you still have control over the process. But it goes much faster, and creates a lot more opportunities.’
Tijmen agrees with Simon and Job: ‘We need to validate what an AI tool generates. Check the quality.’
<figure><img src="http://cms.dutchdigital.design/uploads/robotkittens.jpg" alt="Robot Kittens AI" /></figure>
AI: a revolution
Why is everyone talking about AI? Is it any different to any other emerging technologies in the past? If so, what is making it different?
Sandjai: ‘This is not new. This is of all ages. This happens when a new technology enters the stage. Every new technology will face some form of fear, anxiety and opposition. This also happened when the Internet was introduced. Now there is AI, and every industry will need to re-define its essence. Explain to their clients what their added value is. We are so used to not having to explain to clients why they need us. But now - with AI - there is a disruption, and we need to tell people what the essence of our contribution is. We will always need people, but now we need to explain why. Especially to those who do not understand very well what AI is and/or does. We still need people, but people need to tell us why they are important.’
Anton adds: ‘We need to change how we look at things. First we had printed magazines, then the internet came and websites became the new magazines. I feel that we are at the beginning of a new product revolution. AI is going to change how we look at creating campaigns: someone with half of the resources can now do this. It has increased our new minimum. We should all be able to do a lot more, and therefore, give us more time to explore new things.’
AI: taking responsibility
So, our partners are using AI. It makes them work faster, and takes the mundane tasks out of their working days. They believe that we need to embrace AI. But can we - as creators - be held responsible for what AI does, how we use it, and how the world perceives it? A great discussion about who is responsible and why.
Tijmen: ‘We don’t know what is going to change, but things will change. That is a scary prospect. However, we should not be scared because we can build on our individual talents. We can create our new essence together with AI. Is it our responsibility to control where AI is going to take us? I feel that the responsibility right now lies with the big tech companies who make these AI tools. We as a small agency do not yet have the tools to do this.’
Simon continues: ‘I am a little anxious how governments are going to regulate this. If it is well regulated, we don’t need to worry. But if these regulations are not going to happen, there might be a problem. There will be a rat race as to who will develop the first Artificial General Intelligence (AGI) - a type of artificial intelligence that can perform as well or better than humans on a wide range of cognitive tasks. This is risky, because we are talking about people’s jobs and lives here.’
Job: ’We shouldn’t be scared of AI, but the majority of people are as they do not understand AI. AI should be seen as a means to an end, not as a stand-alone tool. However, at the moment, AI is - for many people - a black box. It is complex, and there is no transparency. It is our responsibility to make people understand, to provide the right input into these tools, and evaluate the output. Don’t trust the output automatically. This should make the process more transparent. I believe the control and education on AI is, therefore, our responsibility.’
Sandjai: ‘With regards to diversity and inclusion, I feel that we have a responsibility to contribute right now - especially when AI becomes open source: when its code is made available for use or modification as users or other developers see fit. Sam Altman- CEO of ChatGPT - states that the future of ChatGPT is personalisation. This means that we use the model but add our own data. This way we augment the model with our own data to suit our own requirements, and add diversity where it is lacking in the model. A real opportunity for the creative industry, and definitely our responsibility.’
Anton adds: ‘We are already seeing a shift in culture: users of AI models are held responsible for the output, not the AI model. The output of an AI model is a representation of our biasedness as a society. But what is the correct way?’
Tijmen agrees: ‘It is a representation of the data available. If we are able to change the data, to have an unbiased dataset, that would be great.’
Job: ‘As we move towards an open source world, we will need to create more transparent models. However, in the meantime, every industry or agency will need to create guard rails to define the boundaries in which AI technology can be used. Boundaries are necessary. Here at DEPT we set up guard rails for every app that we develop - it is part of the process.’
Simon continues: ‘I believe an overarching entity like a government needs to regulate this, not a commercial company. A commercial company cannot decide what is the democratic truth as it will always think of its own commercial benefit first.’

Sandjai: ‘If you as creators will not use AI responsibly, other people will see a niche here, and start creating responsibly instead of you. It might lead to new business models in the creative industry where agencies will benefit from using AI in a responsible way. I strongly believe now is the time to start thinking about it. If every agency starts using AI responsibly, then the industry will change.’
<figure><img src="http://cms.dutchdigital.design/uploads/DEPT_AI.png" alt="DEPT AI" /></figure>
Can AI make the world a better place?
That leaves us with the big question: can and will AI make the world a better place? And how can we - as creators - contribute?
Tijmen: ‘It is up to us to make products - using AI - that make the world a better place. AI should be a tool to make the world a better place.’
Simon: ‘I hope that AI will make the world a better place. My personal responsibility is to educate people where I can, use the right prompts when using AI tools, etc. If we all do that, then the world will be a better place with AI.’
Job: ‘It will definitely make the world a better place. Working with AI will be the new norm. However, we have the responsibility to educate people, including our clients, and think further than just using AI. We need to demand transparency and also controllability of AI systems. AI will be embedded in our society, but we need to use it in a more ethical and more controllable way.’
Anton: ‘It is hard to predict. But it can have a positive effect. For example, when it is used to create better accessibility of the internet, when it solves problems. I am really curious where we can help people in a non-traditional way with AI. What are the possibilities? Therefore, I am optimistic in a curious way.’
Sandjai concludes: ‘From an education perspective, society should be educated in AI. As with every new technology, the use of AI is now hyping. But we should sooner rather than later start thinking how we can use it responsibly. For example, AI uses a lot of energy: it is not necessarily good for the environment. However, society is not yet ready to understand what is happening behind the machine. Society only sees the software and not yet the process. We already see the start of a counter-movement, and I think the creative industry will join forces and have something to say.’
An insightful discussion that created some momentum in thinking about AI and what it means to the creative industry. A discussion that we should definitely continue. Here in the Dutch Digital Design community, but also with our clients, our fellow-designers and partners in other industries. To continue the momentum, and see how we can contribute in using AI in a responsible and transparent way. 
Next up: part II of our (online) round table discussion. This time with our partner agencies Fonk, Media.Monks, Merlin Studio, Your Majesty as well as Jesper Slik and Sandjai Bhulai from VU-Pon AI Lab.

The impact of AI within the creative industry. What our partners say

The impact of AI within the creative industry - part I

<figure><img src="http://cms.dutchdigital.design/uploads/01_Portrait-horizontal%402x.jpg" alt="Margot Gabel - landscape" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This month we chatted with Margot Gabel - associate creative director at our partner agency Build in Amsterdam. About her road from Strasbourg - via Lyon and Paris - to Amsterdam. From art student at the classical art school La Martinière Diderot and a 2-year technical degree in web design at the renowned Le Corbusier college to a master degree in Paris at Le Gobelins - one of the world leading schools for animation - and working in Amsterdam. Meet Margot.
From traditional art to digital design
‘I come from an artistic background: my father designed theatre decor and made cinema and museum props, my mother was a ceramist and glass blower. As a result I was surrounded by art books and pieces, and loved reading about art and art history. It made me want to study and learn all about art. I got admitted to La Martinière at the age of 14. Here I learnt about drawing, making collages, architecture and photography. I only had a few digital classes. Here I first came across Photoshop. A real eye-opener for me. I loved the freedom of it: I was no longer limited to physical tools. So much so that I decided to pursue a digital design education back in my hometown, Strasbourg. At Le Corbusier I learnt about graphic design, Net Art and web design, including a little coding. Flash was hip and web design was mostly done in Photoshop ;-)
But after five years in a relatively conventional school setting, I decided it was time for a change: I moved to Paris where I studied at Le Gobelins doing one week at school and one week at an agency. Making ‘real-world-things’ rather than working on fictitious briefs. This was instigated by a very short internship at a small design agency in Burgundy (Bourgogne). I got a two-year apprenticeship at the renowned Parisian agency Big Youth. Here I assisted the design team. I loved it, and learnt so much! I worked on an immersive shopping experience for Thierry Mugler!
This is where I first learnt to connect e-commerce with emotions. Something we still do every day at Build in Amsterdam.’

Moving to Amsterdam
‘When I graduated from Le Gobelins, I went on an exchange programme facilitated by the EU called Leonardo da Vinci - now called Erasmus+. I chose Amsterdam: because its canals and bikes reminded me of Strasbourg, but I also loved its vibrant (digital) design scene. Like the world-renowned Droog conceptual design company.
I survived for nine months with my then very basic English at a small start-up - whose founders later created Otrium - the online equivalent of a physical outlet store. Here I wireframed and designed my first e-commerce store from scratch: Avelon - a Dutch women’s and men’s fashion brand by designer Erik Frenken. Also known for his Amsterdam-based fashion house Frenken.<figure><img src="http://cms.dutchdigital.design/uploads/03_Build-in-Amsterdam_Charlotte-and-Margot%402x.jpg" alt="Margot at work" /></figure>
Hello Build in Amsterdam
‘I loved Build in Amsterdam’s attention to detail and their unconventional approach to e-commerce. And after a slightly clumsy interview in English - after I had written and translated as many answers and scenarios I could imagine on paper - I got the job! I started as a junior designer in 2015. Tim (Weers) and Daan (Klaver) only just started the agency, and it was great to be involved so early on in the growth of the agency. To be able to help grow the agency, and build teams together.
I grew from a junior designer to senior designer. From being guided to being able to guide others. I became a lead designer in four years, and looked after projects on my own. It is great that the agency gives me and others the chance to grow. To combine our creative side with technology. We do it all - from strategy and design to development and production. For a variety of clients - from lifestyle (Vitra, Moooi), fashion (Suitsupply,ARK/8) and sportswear (Mammut) to cultural institutions (Foam - photography museum, Frans Hals Museum) and social enterprises (KLABU - building sport clubs in refugee camps, and creating sportswear to raise funds).
What do I love most about Build in Amsterdam? The team! We are a great bunch of people with different skills and backgrounds. We inspire each other. And we are all passionate about what we do. Moving the physical experience to the digital world.’<figure><img src="http://cms.dutchdigital.design/uploads/02_Build-in-Amsterdam_team%402x.jpg" alt="BiA team" /></figure>

Build in Amsterdam - creating immersive experiences
‘The unique experience when walking through a physical flagship store: the level of service, the design of the space, the lighting, the fixtures - pleasing all senses. That’s what we want to replicate online. Translating all offline emotions into online ones. For every touchpoint of a brand. Creating a complete and immersive experience. Through the power of branding - enabled by technology.
How do we do this? By looking at every detail. Embracing a comprehensive approach with our brand strategists, designers, developers and data analysts. This way branding can be infused in every detail - from interface design, photography, micro-interactions to tone of voice and sound branding. To name but a few. We do a lot of research to be able to do this, and are inspired by museums and theatre.’
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/871130040" frameborder="0"></iframe></figure>
Inspired by Guerrilla Games: the Horizon Series
‘First of all a confession: I only recently discovered that Guerrilla Games is based in Amsterdam. These indie games studios aren’t in the spotlight, but they should be. Therefore, as an avid video gamer myself, I would like to share this medium with the Dutch digital design crowd. 
There is an incredible amount of craft, dedication, research and technical skill involved in creating these games. And near impossible to compare with the making of a single website. It is a source of inspiration for my own work. The way these games are made: the interfaces, animations and menus. These are often ‘life’ projects - Horizon took five years to develop, cost $200M+ and hundreds of developers to make. Another level.
Gaming is a form of escapism for me. It is meditative. I love the story-telling, the emotions it unchains. It goes further than reading and watching a movie. That’s immersive too, but gaming goes deeper. It is more dynamic. Plunging yourself into another space, another time frame, and even another you sometimes. It feels close to travelling. 
The Horizon Series are a series of fantastic video games immersing you into a post-apocalyptic future where deadly machine creatures are roaming the world. You are playing as Aloy - a female hunter who is trying to restore the planet’s biosphere.
Here’s a list of why I think this game is special. I love the strong female main character, and the focus on environmental and ecological topics. The deep attention to backstories, the awe-inspiring ecosystems and desolate, yet beautiful landscape. I can carry on.
Great video games are a visceral experience - you feel it in your stomach. Horizon does that to me.’<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/cG0HqnzI3yc" frameborder="0"></iframe></figure>

From Margot to you
‘To everyone starting a career in digital design, do as much as possible as early as possible: take that internship, move abroad, work in a language you barely know. Learn lots and keep on learning. Be curious, open and eager. Hold on to that beginner’s mind (Shoshin) your whole life. It will broaden your horizon, your outlook on life and work.’

Margot Gabel: passionate about connecting digital design with emotions

Margot Gabel Build in Amsterdam & Dutch Digital Design Curator

<figure><img src="http://cms.dutchdigital.design/uploads/Photo1.png" alt="Christian Mezöfi" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Work that caught their eye, and - according to them - deserves to be in the spotlight. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This month we chatted with Christian Mezöfi - head of design at Dentsu Creative Amsterdam. He takes us on a tour: from being 6 years old and getting his first computer to working in the digital design industry. A great look behind the scenes for all aspiring heads of design out there. Or anyone else who would like to know a little more about life in digital design.
Christian &amp; the road to digital design
‘Picture the late eighties: my dad gave me my first computer when I was 6 years old. Not just for gaming, but for developing my coding skills. He spotted my interest, but also the developments in computing. That computer and my first stylus pen triggered my passion for digital design. I got involved in the so-called demo scene - creating art with computers. Very high tech back then ;-), and I loved it!
I then moved onto setting up my own company specialising in skating merchandise designed by me, and created a website, including all the visuals, to sell this merchandise. These were my first steps into web design - using Flash, and hosted on GeoCities (later Yahoo! GeoCities). GeoCities was a web hosting service that allowed users to create and publish websites for free.
So, what was my next move? Everyone was talking about Hyper Island (Karlskrona, Sweden) - a digital creative business school set in a former prison. The birth place for digital rock stars! This is where I had to go. I applied twice, and got in the second time around. Now my passion for digital design became serious business. I loved being around like-minded, talented peers and lecturers, and it enabled me to pursue my professional career in digital design.’
<figure><img src="http://cms.dutchdigital.design/uploads/Photo2.png" alt="Christian at work" /></figure>
The road to Dentsu Creative
‘My first job as a digital designer was at Framfab in Copenhagen. Working on their global Nike Football, Golf and Women accounts. It was tough! Working all the hours to catch and keep up with the more experienced designers. I even slept in the office for a few months due to a personal housing crisis. A humbling experience where I learned a lot, but where I also realised that however much I loved my job, I did not want to work day and night. So, time to move on.
Stockholm was my next stop. It was also where my girlfriend lived, and also the hot spot for everything digital at that time. I worked at digital production company Perfect Fools for about 4.5 years before moving to Vancouver as Stockholm was no longer ticking all the boxes for me. I became restless. But luckily for me I was approached by a fellow designer to come and work on the global digital account for the Nike Jordan brand. I was, and still am, a sneaker head. How could I refuse!? It was a relatively short stint as Nike and the Jordan brand were going through some major re-organisation which made the future at this Vancouver agency relatively insecure. My girlfriend and I got pregnant. So, a little more security was required. 
Europe was next. Closer to home, and looking for a new challenge.
A short stretch at global digital agency AKQA in Amsterdam, followed. Then I dipped my toes in freelance life which wasn’t for me. I personally found it hard to set boundaries, with regards to hours and deliverables. I felt a lot of pressure to constantly over-deliver. Where freelance life is perfect for some, it wasn’t for me.
This is when I joined the Dentsu Creative-gang (formerly known as Achtung!). From the moment I started, I loved their culture and mentality. Their passion for design. Their constant drive to look for inspiration and innovation. Because of this drive, they transform and shift focus when needed. It allowed me to develop and evolve in my role. I have been here almost 10 years now, and it is still the place that allows me to turn my passion into work.’
<figure><img src="http://cms.dutchdigital.design/uploads/OST_Achtung-Dentsu_forweb_byFrisoBoven-11.jpg" alt="Dentsu - office" /></figure>
Christian’s go-to technology
‘3D motion/animation. It all started because I wanted to create my own 3D animated mock-ups, rather than using the same ones you see everywhere. Giving me more freedom, and allowing more creativity. What started off as a hobby, has now become a full blown passion of mine. There is just so much to learn as it is constantly evolving. I love the minute detail of it all. Detail that many people won’t even see when they are looking at the finished product. I like to challenge myself, and find it ever so rewarding when it all works out.’
<figure><img src="http://cms.dutchdigital.design/uploads/beyer1.jpg" alt="Dentsu - Beyer" /></figure>
Inspired by Dutch digital designer Robbin Cenijn
‘As mentioned before, I’m all about the details. And one digital designer who has an incredible eye for detail is Robbin Cenijn. You cannot talk about Dutch digital design without mentioning him. His work inspires me.
I first came across Robbin’s work when I was freelancing on a few projects with him at Tribal DDB - quite a while ago. But I never stopped following what he was up to. He has a great sense of style, and a meticulous eye for detail. His work has a balance and harmony in
 type, colours and shapes. It always feels very atmospheric and soothing. And the meticulous eye for detail makes all the difference. Whether we are talking preloaders, transitions or something as basic as a menu. Everything is thought through, and all his projects have been consistently beautiful. Robbin can create something beautiful out of something simple. I love that.'<figure><img src="http://cms.dutchdigital.design/uploads/merlin-footer.png" alt="Merlin Footer" /></figure>

Technologies to watch, according to Christian Mezöfi
‘My choice is obviously 3D technology because its constant evolvement, and my own passion for this technology. 
But the world would probably say AI. There will be more and more AI tools, and it is all moving incredibly fast. From a visual point of view, I don’t think we are there yet. What do I mean by that? I don’t think we have full control of creating exactly what we want, using AI, yet. I am currently interested in using AI where it can help me with my craft. Where craft and skill are still needed but AI can help get me there - more efficiently and maybe also quicker. Like helping me sort all of my fonts in a meaningful way, or suggesting alternative ways of doing the same thing - like Houdini, a 3D animation software application.
Therefore, for me, it is not AI prime time yet. Of course, I am curious what will happen next.’
‘Dear aspiring digital designers’
‘Love your job, your passion, your craft. 
Don’t worry too much about the hierarchy in an agency, and your place within this. You are good at what you do. Be confident, and share your ideas. However intimidating your surroundings might be. But if it feels like that, it might not be the right environment for you after all. Realising that you shouldn’t feel intimidated, but just able to be yourself, and love what you’re doing, is so important. Be part of the team! Whether you are only just starting, or been there for 10 years already.’

Christian Mezöfi from Dentsu Creative: loves detail and 3D design

Christian Mezöfi Dentsu Creative & Dutch Digital Design curator

<figure><img src="http://cms.dutchdigital.design/uploads/Website_1920x1080.jpg" alt="" /></figure>
Amsterdam, Tuesday, 12 December 2023
Dutch Digital Design welcomes five great, new partner agencies: ACE, Cut the Code, DotControl, Lava and Merlin Studio. This means that our Dutch Digital Design foundation is now a collective of 34 partners: working together to share knowledge and a vision for now and the future, expand our (inter)national presence, and be a close-knit community of creative peers.
Being a collective of creative partners increases the appeal to potential clients, business partners and talent - on a national and international level. Also, the foundation curates and shares interactive work, distributes thought leadership articles through (inter)national media channels, and provides speakers for events abroad and here in the Netherlands - including Dutch Design Week and SXSW.
ACE
ACE is a network of twelve agencies based in Amsterdam, Rotterdam and Utrecht. Rogier IJzermans (founder): ‘We care a lot about the digital industry. This is how ACE has come about. The fast changing world we live in, is shaped by culture and technology. Just look at the rise and influence of AI. It is important that we continue to develop our industry, and position ourselves firmly within this field. This way we will continue to be relevant to all brands we work with. Born05 was already a Dutch Digital Design partner agency (part of ACE). Great that ACE is part of the collective too now.’
Cut the Code
Cut the Code is the first no-code agency in the Netherlands. Why? The combination of this approach together with design allows for development of more efficient platforms and websites. Erwin Luijendijk (founder): ‘We want to be innovative without giving ourselves limitations with regards to the design: we believe that speed and aesthetics can definitely work together. By joining Dutch Digital Design, we can share our vision, and contribute to this new approach - this balance between speed and aesthetics - in our industry. We envisage a future where unique and seamless digital experiences can strengthen the Dutch reputation in design and technology.’
DotControl
Data-driven digital agency DotControl specialises in communication, digital products and e-commerce. They have offices in Rotterdam, Heerlen and overseas, in Curaçao. Marcel van Zwieten (managing creative partner): ‘Design, innovation and interaction are the areas we focus on as an agency. Exactly the reason why we feel at home at Dutch Digital Design. The future of the Netherlands within this field is promising: a lot of talent is surfacing, and we - as a country - are embracing the tools of this new era. This is why I predict an increase of projects with far richer web experiences.’ 
Lava
Branding-and design studio Lava was founded in 1990. Two years ago a completely new management team took over. Lava specialises in bringing brand identities alive and bespoke interactive tools. Lars Terhorst (managing director): ‘Our team is convinced that sharing knowledge is crucial to encourage and stimulate innovation. We believe that Dutch Digital Design can play an important role here. We see a future where the digital and physical worlds merge, where brands survive that can adapt, relate and evolve in real time - just like living organisms.
Merlin Studio
Merlin Studio - a creative code boutique based in Haarlem - collaborates with agencies to fuse technology and creativity into interactive campaigns. Mees Rutten (co-founder): ‘It is a true honour to be part of this collective of the best Dutch digital agencies. We have grown incredibly fast, which suits our DNA. We spend a lot of time training and educating digital talent. Because it is all about communication and quality for us. We look positively to the future. A future where we - together with Dutch Digital Design - can encourage a more personal, smarter and greener way of living.’
If you - after reading this - have any questions for us, please send us an email: contact@dutchdigital.design.

Welcome ACE, Cut the Code, DotControl, Lava and Merlin Studio

welcome to five new partners

<figure><img src="http://cms.dutchdigital.design/uploads/CLEVER%C2%B0FRANKE-red-dot-agency-of-the-year.jpg" alt="" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Work that caught their eye, and - according to them - deserves to be in the spotlight. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This month we talk with Aurelija Mockeviciute. Aurelija is a senior visual designer at our partner agency Clever°Franke. A Dutch data design and technology agency that uses data to create interactive experiences. Clever°Franke was recently awarded Red Dot Agency of the Year 2023. 
Aurelija’s road to becoming a visual designer - in the Netherlands
Born in Marijampolė, Lithuania. Now living in Utrecht. Aurelija studied Graphic Design at the Vilnius Academy of Arts. First set to study industrial design because she wanted to make physical things. However, due to unforeseen exam scheduling, Aurelija ended up in the Graphic Design programme. Here she developed her passion for graphic design.
She then continued her journey to the Netherlands. Aurelija realised that digital was big here, and was curious to explore how she could combine digital with her graphic design background. Next step: sending out her portfolio which resulted in her getting an internship at Dutch Digital Design partner agency Bravoure. Her role was varied: from making an acrylic doorhanger for access to the meeting rooms to her first exploratory steps in UX and UI design.
What she loved most about working at Bravoure? The fact that it was a digital agency, and their arts and culture clients. During her time at Bravoure, Aurelija was mentored by two great designers: Vanessa Wong and Kalok Yeung. She loved the fact that it helped her seeing herself doing this job too in a few years, having Vanessa as an example. 
After the internship at Bravoure, Aurelija worked for 2.5 years at Build in Amsterdam - also a Dutch Digital Design partner agency. No longer as an intern but as a designer. Here she learned everything about making a website, but also about the process of working in a digital agency. How teams and different roles collaborate together, working on projects for RED Company, Suit Supply, Mammut and Land of Ride. 
 
Her time at Build in Amsterdam coincided with the COVID-19 pandemic. Whilst working from home, Aurelija had time to re-think her values and felt she needed a fresh start and a new challenge. 
In comes Clever°Franke where she now works happily as a senior visual designer. 
<figure><img src="http://cms.dutchdigital.design/uploads/CLEVER%C2%B0FRANKE_ACMI-project-discussion.jpg" alt="" /></figure>
 
What does a visual designer do? At a data visualisation agency.
‘Visual designers focus on the aesthetics of a website, app or any other digital design. As a visual designer, you are responsible for the UI (User Interface). You focus on the visual aspect. Whereas UX (User Experience) designers do not need to necessarily be visual designers, I believe visual designers need to understand the principles of UX design. Like wireframing: visualising the skeleton of a digital application, showing how everything interacts to create a fluid experience.
However, I strongly feel that UX and visual designers need to work together in order to create a fluid journey. From content and look and feel to the wireframes and overall experience. 
At Clever°Franke we create experiences that are focused on data visualisation. With data we are able to tell a real story. This means that we are not just data driven, we create stories based on data, with data.
I always work closely with the UX designer on a project. This gives my role as a visual designer more depth. It allows me to be involved in the user interviews and testing. For me, that is essential - and also inspiring - to be able to design an interface based on the interaction with the end user. It is great to see the reactions of users. This way I can incorporate their feedback and ideas within my design to optimise the experience. And it also helps to convince our clients when they see that we have truly considered the feedback from their users in the design. So, UX results help optimise designs and visualisation.
Working with data does make the process more complex, and often more challenging. Because we can’t just create something that looks beautiful. Data adds an extra level of complexity. Some might say it gives you less freedom. I believe it adds depth and purpose. 
The client shares their data with us - sometimes that as much as they do. The brief is to create something meaningful with the data provided. This means that we have to understand their data inside and out in order to visualise it, and to create an experience that translates their data into a relevant story. So, actually - for me - it gives us more freedom. The route to explore what to do with the data is like a fun adventure.’
<figure><img src="http://cms.dutchdigital.design/uploads/CLEVER%C2%B0FRANKE_bitsCrunch-unleashhNFTs_platform-data_visualizations_2.png" alt="" /></figure>
Modem &amp; the Nike Air Max Pulse installation
‘When I was working as an intern at Bravoure, Bas van de Poel (now co-founder of Modem - together with Astin le Clerq) had a workspace in the same building. That’s when the intrigue for Modem’s work started, and it hasn’t stopped yet. Modem explores the impact of (future) technology on life. Their research partners include Harvard GSD, MIT and UC Berkeley. 

They look at scenarios about what life is going to look like when using certain (future) technologies. Many of their research papers have been awarded: recently they received a Dutch Design Award for their complete portfolio of research papers. Research papers that aim to start a discussion about up-and-coming technologies and their effects on our lives. 

Same with the Nike Air Max Pulse installation for Nike’s House of Innovation (flagship store) in Paris. The installation uses generative AI, and - more specifically - the AI image generator DALL·E 2. Letting visitors remix their own ‘feeling of air’ through unique AI-generated visuals. The interactive image-mixing table allows each guest to create one-of-a-kind images that captured the essence of Air Max.  Visitors play with the controls on the mixing table, selecting from predefined prompt components that are continuously transmitted to the DALL·E 2 model.  It represents a novel and creative application of AI technology in the retail space.
<figure><img src="http://cms.dutchdigital.design/uploads/modem_nike_airmaxpulse_01.jpg" alt="" /></figure>
Not only its visual appearance captivates me, but also the wealth of inspiring ideas it sparks. For me, it is an exemplary approach to exploring generative AI in a manner that makes it accessible to a diverse audience. In the current landscape, there is a growing divide between those who effortlessly navigate emerging technologies and those who find themselves daunted and hesitant. 
This is probably not the intended purpose of the Nike installation, but - for me - this installation bridges a gap: it is a creative and engaging way for those who might be apprehensive to interact with and do not comprehend the workings of generative AI. It not only demystifies the technology, but also fosters a space for learning and exploration.
It is totally immersive, and also completely on-brand.’ 
<figure><img src="http://cms.dutchdigital.design/uploads/modem_nike_airmaxpulse_08.jpg" alt="" /></figure>
 
Data visualisation versus AI
‘The installation from Modem uses Generative AI - creating a different, unexpected story each time a user interacts with it. Generating new data based on each interaction with the user.
How is this different from data visualisation?
At Clever°Franke, we use a fixed data set supplied by the client to help tell a certain story. This graphical representation of information and data tells a story that is intentional and controlled. Unlike AI. AI uses data to tell a probable story, and each story is always slightly different from the next.
However, both data visualisation and AI use complex data relationships and data-driven insights in a way that makes data and its message easier and more accessible to understand.’
<figure><img src="http://cms.dutchdigital.design/uploads/CLEVER%C2%B0FRANKE_bitsCrunch-unleashhNFTs_platform-three_phones.png" alt="" /></figure>
Aurelija and AI
‘I feel that AI helps visualise (future) scenarios and products. It offers us new, previously unexplored ways to innovate. It shows us unimaginable and mythical things. 
With regards to AI being biased, I believe that AI is not biased, people are. It is our responsibility to recognise and rule out bias, and to learn how to use AI properly. We should never stop asking questions, and keep exploring all possible options.
I believe that our job - as creators - is to educate people about AI. To make it more transparent, and bridge the gap between what we - creators - know and what the public knows. Making it less scary, but also less biased.’

Aurelija Mockeviciute: visual designer & Dutch Digital Design curator

Meet Aurelija Mockeviciute from Clever°Franke

<figure><img src="http://cms.dutchdigital.design/uploads/partner-in-the-spotlight-robot-kittens/Header.png" alt="" /></figure>
Introducing you to one of our Dutch Digital Design partner agencies: putting them 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 is Robot Kittens’ turn - a creative digital agency . You will find them in Hilversum, between Amsterdam and Utrecht. They believe that genuine passion for the work that you do, is priority number one. Without this you cannot deliver the best creative and innovative work. Without this you cannot be a true Robot Kitten. We chat with Tijmen Mulder, co-founder and creative director. About what it takes to be a Robot Kitten. What values, opinions, knowledge and expertise contribute to their unique Robot Kittens culture. And why this matters.
From Superhero Cheesecake to Robot Kittens. Partners in digital creativity. 
A short history.
In 2009 Tijmen started boutique digital creative studio Superhero Cheesecake - now part of the immersive web team at Media.Monks. Tijmen defines himself as a creative coder at the time. Using code as a tool to develop creative digital concepts. His mantra was (and is) to always follow your gut feeling. His passion for anything digital, anything tech being his main driver. Prioritising creating beautiful, innovative work and people over commercial gain. This meant that in 2016 Superhero Cheesecake and Tijmen decided to go their separate ways. Their ambitions had changed.
So, what was next?
Robot Kittens was next. Together with Niels Filmer and two other partners.
Niels is still at Robot Kittens and going strong as co-owner and technical director. In the days before being a Robot Kitten, he was an encryption specialist and later became a developer at MTV Networks. He then joined Tijmen at Superhero Cheesecake as a senior developer. The rest is history. As technical director Niels is responsible for the backbone of all projects created at Robot Kittens. With years of experience in tackling the technical challenges of projects.
So, are there any women at Robot Kittens?
Yes, of course, there are! And one has been there almost right from the start: Didi van Doggenaar. She was officially the sixth kitten to join in 2017 - as project manager with a background in media and also the chairman of the Young in Media board. Now in 2023 Didi is operations director, and part of the Robot Kittens management team. Hands up to Didi.
Early 2022 commercially savvy Jesse Mons joined Robot Kittens as managing director and co-owner. As his partners and fellow co-owners Tijmen and Niels take care of respectively the creative and technical sides, Jesse manages operations - together with Didi, finance and business development. He is all about efficiency, and continuously looking for areas to improve. His main focus is people management, developing and growing teams and client-and partner relationships. Jesse worked for large agencies, including DDB &amp; Tribal Worldwide, BBDO and Publicis - covering production and operations - on a broad range of clients including KLM, Heineken, Vodafone and Adidas. To name but a few.
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/WwIwEcudRpQ" frameborder="0"></iframe></figure>
Robot Kittens = creative + tech-savvy + accessible
‘It all started with Flash. Small websites. Facebook campaigns. And silly computer games. We weren’t necessarily concept creators but more focused on production. 
Now we join the creative process much earlier on: we look where we can improve the concept on the basis of technology. We see ourselves as partners in digital creativity. We co-create. We collaborate. With clients direct, but also together with other creative agencies. 
We are digital natives. Our focus is always on technology. We believe in sticking to what we are good at, and keep getting better at it.
However, we don’t just focus on one technology. We always explore which technology allows for the concept to be executed in the best possible creative and innovative way. This means that all Robot Kittens need to be multi-disciplinarians. From designers, concept creators to developers and editors. From UI design to 3D animations. From concept to production and deployment. If it’s digital technology, we love it. But we don’t just sell technology, we sell a polished digital experience.
We step in when needed. Right from the start, in the middle or right at the end. As a creator or digital advisor. We love a challenge.’
Partners in digital creativity - a few examples
‘Together with the NTR - a Dutch public broadcasting company - we developed the concept of historical pod walks - GPS driven audio tours. About towns and villages in the Netherlands where flooding has caused major issues. The pod walks accompanied the television programme ‘Het water komt’ (English translation: ‘The water is coming’). There was no look and feel or concept for the programme itself yet. Result: the client loved it so much that they adopted our concept and design of the pod walks for the overall look and feel of the television programme.
<figure><img src="http://cms.dutchdigital.design/uploads/be-my-guest/Case-NTR.png" alt="" /></figure>
Another great example of a project where we worked directly with the client - from concept to production - is Botanical Wonders for the Flower Council Holland. A web-AR experience on your mobile phone. To raise awareness of the benefits of indoor plants and flowers. Making it right for the target audience, it couldn’t be too game-like, and had to be accessible. The way we worked with the client was iterative: daily meetings with the client for optimisation. This made the whole process flexible and lots of fun. Result: an augmented reality experience turning your living room/house into a green haven, drawing you into the world of plants and flowers.
<figure><img src="http://cms.dutchdigital.design/uploads/be-my-guest/Case-Bloemen.png" alt="" /></figure>
And a great international example: our Oxxo F1 retro racing game. Again from concept to production. Together with Ice Mobile we worked on the best way to approach the project, resulting in a lot of prototyping but also playing the game. Oxxo is a chain of Mexican convenience stores. They approached us to develop a concept that would create excitement about the Formula One coming to Mexico, including Mexican racing driver Sergio Pérez. The biggest challenge would be that the concept needed to be integrated within their existing app. Therefore, the game needed to be web-based. Another consideration was that most devices used in Mexico have lower specifications than we are used to over here. Result: a retro racing game where players/customers could earn additional rounds by buying products. With a grand prize of tickets to the actual Formula One race in the Autódromo Hermanos Rodríguez.’
<figure><img src="http://cms.dutchdigital.design/uploads/be-my-guest/Case-Oxxo.png" alt="" /></figure>
To be a Robot Kitten. It’s a way of life.
A Robot Kitten = a creative centipede, a sociable techy with an intrinsic interest in their work, but also in the people around them. 
People matters + technology matters + fun matters = the best work.
‘We are a close-knit family. We believe that this is needed to guarantee the highest level of dedication and quality. We are a team of like-minded, tech-savvy, passionate and driven individuals. 
At Robot Kittens, people and
creating beautiful innovative work will always come first. This is why we are focused on finding people that fit the team and have the right skill set. We have chosen to grow steadily instead of rapidly. We are always looking for the missing pieces in the Robot Kittens puzzle. One by one. To make sure the piece fits.
To be a Robot Kitten is to have a strong sense of responsibility. To share our passion for digital technology and anything else techy. Our work is our hobby. We enjoy cracking a code for a new game or finding a new way of creating a 3D animation - even in our spare time ;-) We move along with technology. Always looking for the latest developments.
To be a great Robot Kitten, you need to be happy at work. As our Robot Kittens family isn’t that large, it is important that you feel grounded and at home. There is no hierarchy within the Robot Kittens family. We all work together and inspire each other. But most of all we like to have fun. Fun creating the best digital experience possible. Together. 
And in case you think it’s just work, work, work with those Robot Kittens. We think life outside work matters too: a Robot Kitten has unlimited holidays. Up to them whether they choose to spend it creating a next-level AR game ;-).’

Robot Kittens 2.0
‘The world is our oyster. We want to be globally renowned creators and partners in digital creativity. The Netherlands is a great digital hub, but we have so much more to give. We want to make beautiful things for and with anyone who is interested in creating high quality digital experiences with us - here and abroad. From creative digital consultancy and concepting to high-end production.
We believe in investing in long-term partnerships - with all our Robot Kittens and our clients. For great, next-level digital experiences. From Hilversum to the moon.’<figure><img src="http://cms.dutchdigital.design/uploads/partner-in-the-spotlight-robot-kittens/Work.png" alt="" /></figure>

To be a Robot Kitten: passionate about creative technology

Partner in the Spotlight: Robot Kittens

<figure><img src="http://cms.dutchdigital.design/uploads/dutch-digital-design-does-dutch-design-week/RemyOnline-107321.jpg" alt="" /></figure>
 
Dutch Design Week 2023. Together with some of our partner agencies, we collaborated on two events: interCHANGES on Thursday, 26th October, and the annual Creative Jam on Friday, 27th October. Both great and inspiring events.
interCHANGES
We were one of the proud co-hosts of Dutch Design Week interCHANGES. A series of interactive events - offering the opportunity to share and co-create knowledge. During our interCHANGES on Thursday, George Dyson - an American historian of technology - kickstarted a discussion about how to shape our digital future. He argues that nature and the digital realm will remain fundamentally different - for ever. The question posed during this thought-provoking discussion: are we, therefore, on the cusp of a revolution against digital and a re-valuation of the analogue?
Following this discussion, there were four breakout sessions. Session III - Miro Mission Mindmapping - was co-hosted by us. Under the guidance of our Dutch Digital Design board member Alain Dujardin (Greenberry), Marsha Simon and Wessel van den Bos (Miro), we hosted a co-creation session with Lisa Klop from Dept, Sjors van Hoof from Ace and Amber Haank from AMARU.
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/885371782" frameborder="0"></iframe></figure>
 
Creative Jam
Very honoured and inspired that we were once again co-hosting this event for digital design talents - together Dutch Digital Agencies, Night of the Nerds and SintLucas.
100 talented students from renowned Dutch creative institutions joined us on Friday, 27 October, at SintLucas College in Eindhoven. Together they worked on inspirational and innovative concepts and ideas for IKEA on how digital design can support and promote a circular world. Remco Frank from one of our partner agencies Bravoure worked along a team of talented young creatives to guide and inspire.
At the end of the day the concepts were judged by a panel of experts in the field of sustainability and digital design. 
A great day for inspiration, collaboration and showing (off) skills!

<a href="https://www.facebook.com/media/set/?set=a.939645250934111&amp;type=3" target="_blank" rel="noreferrer noopener">Photo's Creative Jam - Dutch Design Week</a>
<a href="https://vimeo.com/dutchdigitaldesign" target="_blank" rel="noreferrer noopener">Video's Creative Jam - Dutch Design Week</a>

Dutch Digital Design does Dutch Design Week 2023

<figure><img src="http://cms.dutchdigital.design/uploads/ADNIGHT.png" alt="" /></figure>
ADNIGHT is coming. On Friday, 13 October. And - like last year - there will be a Dutch Digital Design route curated by us and some of our partner agencies. Code d'azur, Dentsu Creative, DEPT, Media.Monks and ACE are opening their doors for you - from 18:00 until 23:00. Followed by a fab ADNIGHT afterparty in Paradiso (until 4:00).
<blockquote>Digital design agencies play an essential and indispensable role in today's agency landscape and that of the future. The world we live in demands a different approach to marketing, advertising and communication. A smooth customer journey is key - through all channels. A great digital strategy can deliver the ultimate customer experience covering all touch points. Claire Daemen - co-founder ADNIGHT</blockquote>
The Dutch Digital Design route presented by our agency partners. You will want to join.

ACE
Digital creative network ACE consists of 12 agencies - each with their own expertise. ACE HQ is in Amsterdam and part of the Dutch Digital Design route during ADNIGHT. 
Their ADNIGHT theme: 90s Iconology - how hyper-futuristic aesthetics inspire tech and culture 
'Channel your inner Missy Elliott and join us at Club ACE for some hyper-futuristic 90s vibes. 
Mo’ technology. Mo’ visuals. 
When it comes to CGI, AI and hyper-futuristic art direction, we have a rich history to draw from and an exciting future ahead of us. Immerse yourself in our world of tech and culture -
 while getting down on some serious 90s bangers.'
Address: Danzigerkade 15-C, Amsterdam 
<figure><img src="http://cms.dutchdigital.design/uploads/ACE.png" alt="" /></figure>
CODE D’AZUR
Global digital brand and experience agency code d'azur - who have formed an agency network together with digital agencies Triple and Wonderland - has more than 500 employees across Amsterdam, Austin, Barcelona, Dubai and Singapore. Their clients include Polestar, Under Armour, cititzenM and Philips.
Their ADNIGHT theme: Welcome to our Playground 
'Curious about creative content? Keen to find ou
t how we shape playful digital experiences? Want to discover what lies at the root of an unforgettable brand identity? 
Our ADNIGHT Talks give a tantalising taste of how the magic is made. For one night only we're opening the doors to our playground. So come on in and see how we play the game.
Some of our guests: 
Renzo from Team Gullit - FIFA-Esports World Champions. Team Gullit scouts and trains some of the world’s most promising FIFA talents. Find out where this innovation started. Where it’s going. And how brands can tap in as Esports continues to grow.
Oygar - GenAI Playtime: exploring Stable Diffusion. Unlocking the potential of Generative AI is simple, if you know what you’re doing. Join Oygar to find out how Stable Diffusion can be used as a visual toolkit.' Address: Oostelijke Handelskade 751, Amsterdam<figure><img src="http://cms.dutchdigital.design/uploads/code-dazur.png" alt="" /></figure>
 
 
DENTSU CREATIVE


Dentsu Creative Amsterdam originated from Achtung! - one of the first truly successful digital agencies in the Netherlands - and consists of ‘a family of about 100 entrepreneurial do-ers and zeitgeist-hunting magic makers from many lands across the world'. Dentsu Creative Amsterdam is part of the Japanese agency network Dentsu. Their creative branch has 9,000 employees in 71 cities across 46 markets. 
Their ADNIGHT theme: /imagineland
'Attention all you brilliant minds within the creative universe! This year ADNIGHT at Dentsu Creative is a playground where creativity meets human technology. Bring your creative brilliance and get your work roasted by AI clients, predict your advertising destiny in our Future Booth and dance this ADNIGHT away at our Generave.
Our very own inhouse DJs spin tracks that’ll make your creative souls groove. But that’s not all! We’ll also showcase astonishing visuals generated by the very AI that’s shaping the future of advertising. Toast to a night filled with inspiration, innovation and imagination: /imagine the best ADNIGHT so far!'
Address: Moermanskkade 85, Amsterdam<figure><img src="http://cms.dutchdigital.design/uploads/dentsu.png" alt="" /></figure>

DEPT®
Full-service digital agency DEPT has more than 4,000 digital specialists at 30+ locations across five continents. DEPT is pioneering tech/marketing to help brands stay ahead. They deliver pioneering work on a global scale, with a boutique culture.
Their ADNIGHT theme: Work in Progress 
'Step behind the curtain and witness a symphony of creativity that often remains hidden in the shadows. We’re no strangers to the spotlight, but let’s face it: the real magic happens in the chaos of Dropbox folders, during the dance of discarded drafts in the bins, and even through the wild experiments in the graveyard of keynote decks. This year, we’re opening the vaults, breaking down the walls and bringing you a night of revelation – an evening where Work In Progress takes centre stage!'
Address: Generaal Vetterstraat 66<figure><img src="http://cms.dutchdigital.design/uploads/DEPT.png" alt="" /></figure>

MEDIA.MONKS
Media.Monks has a team of 8,550 digital natives (read: Monks) worldwide: 'By combining media, data, social, platforms, studio, experience, brand and technology services, we shift industries forward and unlock aspirations for our clients and our people - every single day.'
Their ADNIGHT theme: AI, Therefore I aM.M:
'Prepare to prompt the night away on October 13th! This ADNIGHT Media.Monks invites you to see the beauty in symbiosis as we showcase the very real applications - and implications - of AI-infused advertising. Expect casual chats, inspiring talks and exciting installations - wrapped up in one big party. For one night only, our office will be your AI wonderland.'
Address: Danzigerbocht 41C<figure><img src="http://cms.dutchdigital.design/uploads/MM.png" alt="" /></figure>
Your Dutch Digital Design Route:
Ace, Dentsu Creative and Media.Monks are all located in the Houthavens - situated in the West of Amsterdam, along the IJ in Amsterdam's western port. DEPT on the Schinkel business park in the South of Amsterdam. And code d'azur in the Eastern Docklands.
So you can either start your route at DEPT, then carry onto the Houthavens and finish at code d'azur before cycling 4.6 kilometres to Paradiso for the after party. Or start at code d'azur, then onto the Houthavens and finish at DEPT before cycling 3.9 kilometres to Paradiso. 
Have fun and be digitally amazed!

ADNIGHT 2023: we present to you the Dutch Digital Design route

Adnight - Dutch Digital Design route

<figure><img src="http://cms.dutchdigital.design/uploads/2_Fonk_header_1920x1080.jpg" alt="" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Work that caught their eye, and - according to them - deserves to be in the spotlight. Together they select the amazing cases you will find on our Dutch Digital Design website, and that are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This month we talk with Erick de Jong. Creative director at Dutch digital agency <a href="https://fonk.amsterdam/">Fonk</a> (Dutch read) - based in Amsterdam and Cape Town (SA). Fonk is also one of our partner agencies. We chat with Erick about how he got to where he is now, what drives him and the digital platform precisionneuro.io by Amsterdam-based Numbered Studio.
From Amsterdam to Enschede and back again
Erick is a true Amsterdammer: he was born in Amsterdam, and also lives and works there now. Although he tells us that he is not tied to just one place. And he made several stopovers before he returned. 
He started his first year at ArtEZ university of arts in Arnhem, but could not really find his mojo there. So he moved onto AKI ArtEZ in Enschede - a city in the East of the Netherlands. He did find his mojo there.
‘I loved the atmosphere there. An old chemistry lab converted into a college. This gave the place a special industrial vibe. The first person I met walking through the corridors was the Dutch designer Bas Kosters - the first to design a push chair for Bugaboo. A very colourful and inspiring person. I felt inspired there. Because you could be your own person, and be amongst others that felt exactly like that. There was a lot of freedom to find and create your own creative solutions.’
Erick graduated in visual communication, now called cross media design.
‘After my studies I went on to work for myself and started my own one-man studio called Native Tongues. I liked the idea of working independently. Looking for my own projects. Finding my own solutions for clients’ assignments. And keeping control. I was curious and also a little stubborn. But I soon realised that this wasn’t what I was really after. I missed people to bounce ideas off, and be inspired by. 
So I felt very lucky to be starting a job at renowned Dutch design agency Koeweiden Postma - part of Dutch design history. As a student I read their book ‘in the end it’s all about love’ - about the work made by the Amsterdam-based studio of Koeweiden Postma. And now I was working there myself as a graphic designer. Their portfolio spanned from brand identities - including the one for the HEMA - to concert posters for De Doelen, a concert venue in Rotterdam. And much more. They mixed graphic design with advertising, and were great at this!
I then moved onto my first digital stint. At GRRR. From which I moved to the marketing department of G-Star. At this time, G-Star still designed everything inhouse - from retail materials to events. Digital was also becoming more and more important for them. When I was there, they launched their B2B platform as well as making their first steps onto the digital B2C e-commerce market. It was at G-Star I realised my affinity with digital, and that I loved the interactivity of it. However, I wanted to work on more than ‘just’ fashion: I missed the variety. This was fashion and great Dutch fashion, but what I was doing there was mainly for commercial purposes. And after four years I was missing the balance between commercial and cultural. I was ready to dive into a new world. Starting as senior designer at Mattmo where my work was 50% digital: a great mix between commercial and more socially engaged projects. For example, I worked on projects concerning circular economy. I stayed here for a few years and then life at Fonk began.’
<figure><img src="http://cms.dutchdigital.design/uploads/Fonk_AMS_CPT_meeting.jpg" alt="" /><figcaption>Erick &amp; Fonk</figcaption></figure>
Life at Fonk
‘Time for more responsibility. I started as a lead visual designer and am now a creative director.
There is a great culture at Fonk. A culture and way of working that matched with my personality, with my way of thinking and working. An instant click. Lots of freedom to express the way you are and think. Everything is teamwork. Everyone is heard and listened to. There is a great sense of empathy throughout the agency. Whether in Amsterdam or Cape Town. In that respect there are no borders. At both locations there is a same way of thinking. The same values resonate. It’s our common thread.’
<figure><img src="http://cms.dutchdigital.design/uploads/Fonk_AMS_CPT_workshop.jpg" alt="" /><figcaption>Workshop at Fonk</figcaption></figure>
What makes Erick tick
‘For me it is telling a compelling story - making it worthwhile. Telling the right story for that particular brand or product. This also what we do at Fonk. Using the technology and platform that is right to create and tell that story. Whether it is using music, animations or Augmented Reality (AR).
Why do I mention AR? For two reasons. I think we have only seen and used the tip of the iceberg with regards to this. Also, when using AR, I like the fact that you don’t take people completely out of their ‘real’ world. You’re augmenting their real world.
We are currently working on a self-initiated project using AR, encouraging parents/carers to read together with their kids. By using AR we are enriching an offline activity. Together they can act out the story - everyone has a part to play. And the human touch still plays a very important role: connecting and sharing with others. 
We are collaborating with the Amsterdam University of Applied Sciences, and have also received a subsidy to further develop this project. This is what I love doing. Connecting people through telling a worthwhile story, with the right digital technologies. Not losing the human touch.’
<figure><img src="http://cms.dutchdigital.design/uploads/5_Fonk_JimmyNelson.jpg" alt="" /><figcaption>Jimmy Nelson by Fonk</figcaption></figure>
Erick &amp; Japan
‘Japan makes me tick too. A truly inspiring nation. Whether we’re talking films, design or animation. Once I realised that all my favourite films, games and design came from there, I had no other choice than to visit. I love their way of living. The philosophy behind their way of living. The Japanese designer Kenya Hara is a genius in my eyes, and I was very honoured to meet him. He is a master at observing people, truly sensing their thoughts and needs and designing accordingly. 
Walking around Tokyo, you see a society with a stronger focus on the collective. And I feel this also shines through in the way they design.
I am currently studying Japanese, and am also trying to organise an exhibition with Kenya Hara here in the Netherlands. Next year I am planning to live in Tokyo for a month. Working on Fonk projects, while sharing a space and inspiration with local designers. I can’t wait to bring some new insights back to Amsterdam.
<figure><img src="http://cms.dutchdigital.design/uploads/Fonk_Hara_expo.jpg" alt="" /><figcaption>Kenya Hara</figcaption></figure>
Precisionneuro.io
We asked Erick to share some Dutch digital work created by others. Work that stood out for him. He chose Precision. A digital platform created by Numbered Studio - raising awareness for a life-changing brain technology.
‘The subject fascinates me. The website created by Numbered Studio created intrigue. I wanted to find out more. I tried to put myself in the shoes of someone who needs this implanted in his/her brain. A scary prospect, but I think a site like this would help to calm my nerves. Beautifully made. I especially like the 3D animations showing how your brain works. Not just a flat, medical illustration, but an appealing and almost soothing animation. This is how the site feels overall. 
The website gives you a look into what we can expect from using digital technologies like machine learning software in science. It is original, and right for the product, the client and the audience. It is telling a very compelling story. It is a great example of bringing science and digital technologies together. For this project it happens on two levels. It connects humans and digital technology in the most literal way possible, and uses a digital platform to communicate its launch. 
I would love to work on a project like this. To work on projects that give insight into important, but sometimes difficult issues and subjects. Making it more accessible to all.’<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/869141528" frameborder="0"></iframe></figure>

Erick de Jong: creative director, one of our curators, Japanophile

Curator's choice - Erick de Jong from Fonk

<figure><img src="http://cms.dutchdigital.design/uploads/DSC_2354.png" alt="" /></figure>
Introducing you to one of our Dutch Digital Design curators. Our panel of creative experts who scout new digital and interactive work. Work that caught their eye, and - according to them - deserves to be in the spotlight. Together they select the amazing cases you will find on our Dutch Digital Design website, and are promoted on our social media channels - Instagram and LinkedIn - and other (international) media platforms like The Drum. This time it is Giulia Principe’s turn. Multimedia artist and art director at Amsterdam-based Capitola - an innovation-driven digital agency and one of our partner agencies. Giulia talks with us about her work, what drives her and why she loves the work of digital artist Roelof Knol.
Giulia’s journey - from Naples to Amsterdam
Born in Naples, Italy, and now living in Amsterdam. But why leave a beautiful country like Italy? 
‘Jobs in tech were hard to find in Naples. So, after attending several creative media colleges in Naples, I went to the London Film Academy to fulfil my passion for film making and moving images. Here I was hoping to learn and find further ways to express myself visually. This was also the place where I became enthusiastic about editing and post-production, and got to grips with CGI (Computer Generated Imagery). A way to start combining storytelling and technology. However, London was not my place, and I moved to Amsterdam. A smaller city more suited to me and my way of living and working. 
In Amsterdam I studied Game and Interactive Media Design at the SAE Institute. An institute that provides niche media programmes across the world. In 2014 I got myself an internship at EMS FILMS in Concept and Storyboard Art, and worked on a film called ‘Holland: Natuur in the Delta’. 
However, my hunger for working with different media wasn’t fulfilled yet. I was amazed by all the things that could be done whilst editing. The world of media and technology was my oyster. There were so many applications. All the possibilities were insane. It felt like entering a different world. Like Alice in Wonderland: down the rabbit hole. Discovery after discovery.’
<figure><img src="http://cms.dutchdigital.design/uploads/Untitled-3.png" alt="" /><figcaption>Giulia Principe at Capitola</figcaption></figure>
What makes Giulia tick
‘Some people might describe me as hyperactive, but I just have a lot of passions and interests, and don’t want to miss out on any developments and changes in technology if it can help me create more beautiful things. It makes me want to keep searching for more. I am a curious person by nature, and there is a lot to explore. But I do, of course, also love to chill and relax. I practise yoga, love music, movies, travel and photography. I have my own dark room and am exploring ways to use sustainable chemicals to develop my images.
Work is one of my passions. It is fun. I love mixing the analogue and digital world. To keep looking for tools that are the best to do this. From digital design and interactive animation to VR/AR and AI - from visual concept and design to exploring how it all works - the technology behind it all. 
And with all of this, I am going with the flow, and seeing where this is all taking me. Of course, I would love to keep working on digital projects, but I would like to focus on projects that can make a difference and have a cultural impact. This is also why it is great working at Capitola: they have a good balance between commercial and cultural projects. For example, the fab AR project for Move Amsterdam and an interactive experience for The Mauritshuis Museum. I think it is great that we can raise awareness for social and cultural events/issues/projects with the help of digital technology.
So what technologies are currently rocking my boat? I’m into all the opportunities extended reality is offering us, like AR, VR and AI. How software programs like Blender and AI integration with Adobe Products help me improve my workflow. Technology enables me to find and create shortcuts. It keeps me on my toes because I’m always looking for ways to improve the way I work and the output I create. 
<figure><img src="http://cms.dutchdigital.design/uploads/Mauritshuis.png" alt="" /><figcaption>The Mauritshuis Museum - Capitola</figcaption></figure>
Introducing Roelof Knol - digital artist
‘I first came across Roelof Knol’s work at the Nxt Museum - a museum dedicated to new media art - in 2021. Even though his installation ‘Connected’ was made before the COVID-19 pandemic, it was so relevant at that moment in time. Roelof created an incredibly impactful way to make people aware of their own private and shared space. How do we move together?
Each visitor is represented by an interactive visual on the floor, around their feet. This polygon merges together with other visitors’ polygons. Creating new networks of connections between visitors who are navigating through the exhibition. Turning private space into public space. Really impactful.
I then started following Roelof’s work. He is a new media artist in real-time interactive projection mapping. I don’t know him personally, but he is incredibly clever with technology, and pushes the boundaries of interactivity. Also highlighting that there is no interactivity without humans. He experiments with this human element: his art installations give total freedom to the user. Roelof won’t know exactly what his installation will look like: it is all down to the user. How the user interacts with it. He is a genuine source of inspiration to me. Using technology in a visually appealing way but always with a message. Do follow him on Instagram: roelofknol.’
<figure><img src="http://cms.dutchdigital.design/uploads/01_Connected-768x512.jpg" alt="" /><figcaption>Connected - Roelof Knol</figcaption></figure>
Giulia &amp; Capitola
‘Capitola’s mission is to create work that pushes the boundaries of technology, but always with a focus on creating something useful. We specialise in Augmented Reality, Mixed Reality and Virtual Reality, and are always searching for new technologies. A group of beautiful people. Driven. The perfect match for me: culturally and professionally.’
<figure><img src="http://cms.dutchdigital.design/uploads/1920x1080.jpg" alt="" /><figcaption>Capitola</figcaption></figure>

Curator’s Choice: meet Giulia Principe & the work of Roelof Knol

<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-3.jpg" alt="" /></figure>
Introducing you to one of our Dutch Digital Design partner agencies: putting them 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 is Greenberry’s turn - a strategic digital design agency based in Utrecht. They believe that digital design can help solve - sometimes complex - social issues. It is what makes Greenberry tick. We talk with Mariska Doppenberg - communication-and project manager. About how they feel they can contribute and create positive impact with the help of digital technologies.
Meet Mariska. Meet Greenberry.
Mariska studied communication science and international business. Spent a semester at Bangkok University. And is now the communications manager at Greenberry. She joined Greenberry in 2014 being the 9th
team member, and is currently in her 9th year at the agency. A perfect match, in skill and interests. Her role is relatively unique as she combines her communications role with project management. This means that she is in charge of coordinating Greenberry’s social media activity, events like Dutch Design Week and the communication of launches of platforms, apps, etc. Together with the partners, she also looks at the business strategy of the agency. When needed, Mariska also helps manage projects. 
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-1.jpg" alt="" /></figure>
Greenberry was founded in 2006 by Bas van Bokhorst and Jan-Willem van Beek. Both are still active within the agency. Bas as managing partner and Jan-Willem as partner. Jan-Willem is also CEO of Forty - Greenberry’s partner agency and experts in innovation and start-ups. Michael de Kruijf joined in 2009 as senior partner. In 2011 Alain Dujardin started as creative director. Alain is also a board member of Dutch Digital Design.
The four partners together focused on making digital design more innovative, relevant and socially impactful. A strategy that is still followed and intrinsic to the agency. Social responsibility is key to them and the whole Greenberry team. They want to enthuse and inspire through social impact. Through empathy, creativity and technology. 
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-10.jpg" alt="" /></figure>
Being B Corp
Greenberry have also just received their B Corp certification. Meaning that their business ‘is meeting high standards of performance, accountability and transparency with regards to employee benefits and charitable giving as well as supply chain practices and input materials.’* Or - in simpler words - making a positive impact in areas with regards to governance, employees, community, environment and customers’
*source: www.bcorporation.net
‘Hearing about B Corp made us enthusiastic straight away: that’s what we wanted too. A great match with what Greenberry believes in and what we would like to represent. To give an example of what we’re doing to comply with being B Corp, and something we are very proud of, is within the area of community: to spend energy and time by using our skills and knowledge - next to paid projects - on projects and themes that matter to us and the community. Like mental health and inclusive design.’
Digital design and social responsibility
‘Being part of the Greenberry team means wanting to help to make the world a better place. To actively contribute to and be driven by this. To be part of Greenberry, you need to have a socially critical view. This way we stay close to what we believe in, and are able to create authentic digital projects and products with social impact. We are always in it for the long term. Creating partnerships with our clients, within our team and with those who use our platforms, apps, etc.’
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-4.jpg" alt="" /></figure>
Health as a theme
‘Health has always been one of the common threads in our work. Ten years ago we already created the ‘Vakantiedokter’-app (now: Zilveren Kruis Wijzer) for health insurance company Zilveren Kruis. An app that could give you advice with regards to medical issues whilst on holiday. 
We work closely with health experts and professionals for every health-related project we do. Adding our expertise, for example, in technology and how to best reach specific audiences. It’s a true partnership.
We believe that a healthy and happy life makes for a healthy and happy society. Health touches everything. Whether we talk about mental health, physical health, financial health, or a healthy environment. It is all connected.’
Healthy work created by Greenberry
So, let’s share what makes Greenberry truly Greenberry: socially impactful work. Also recently awarded with an Esprix award - although the agency will emphasise that awards are not the be-all and end-all for them. ‘Of course, it is something to be proud of and helps raise awareness that digital technology can help contribute to a healthier, happier world. For that to be recognised, is great.’
Let’s start with Feelee. The work that has been awarded with an Esprix award. Feelee is an app that gives youngsters a better insight into their feelings and emotions. Teaching them in a light-hearted way how to identify those feelings, and, ultimately, improve their mental resilience. Youth care institutions have started using the app as part of their treatment. Feelee was originally started as a startup: Greenberry invested in the development of the app themselves. Proof that they are in this for the long run.
Newsflash: Feelee has recently won a gold Dutch Interactive Award (Dutch Interactive Awards 2023). Hands up to Greenberry and Garage2020!
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-2.jpg" alt="" /></figure>
Moving onto First EET kit
(pronounce: first aid kit, English: First EAT kit). A truly impactful website that raises awareness about eating disorders, and helps people recognise, understand and treat symptoms sooner: a first aid kit for eating disorders. This platform has come together through a close collaboration with K-EET - a Dutch institution consisting of professionals and experts in this field. To make absolutely sure that this was done properly, the Greenberry team shadowed a team of doctors in the hospital and talked with patients and their parents. ‘A moving and confronting experience at the same time, but absolutely necessary.’
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-5.jpg" alt="" /></figure>
The next project My Heart Diary
(Dutch: Mijn Hartdagboek) is a smart diary app that provides insights into recognising symptoms of heart failure. It gives people the tools to understand the symptoms and explain them to their GP. A personalised app for people aged 60+. The team carried out two user surveys. One to validate the concept and needs of the users. The second one to test its user-friendliness - ensuring that the app is accessible to older people, including those with low health literacy.
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-7.jpg" alt="" /></figure>
And last but not least, Stookwijzer - a guide for sensible and sustainable use of your fireplace at home. An app that helps improve air quality as fine dust does not only cause poor air quality, it can also cause serious health problems. The app makes people aware of the effects of burning a woodfire at home, and advises users when not to burn a fire as it will have an adverse effect to the air quality when the air quality is already poor in their area. Using simple imagery and words makes the app accessible to all. Stookwijzer also gives tips about how to burn a fire the smart way, being less polluting and more efficient.
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-8.jpg" alt="" /></figure>
This is just a small selection of the impressive and socially responsible work that Greenberry creates. For more examples, have a look at their website (Dutch read).
 A changing world
‘The world is changing. People and companies need to show more social responsibility. However, this social responsibility needs to be intrinsic. Companies need to avoid greenwashing at all times. Meaning that a company might look like a sustainable and socially responsible business on the outside, but when having a closer look, this is not the case. Therefore, we feel it is also part of Greenberry’s responsibility to educate and partner with more commercially focused clients to look at their Corporate Social Responsibility, and help create a positive impact in their field of business. We, at Greenberry, have become experts throughout the years in creating projects - together with our clients and end-users - that have a positive impact, and enable companies to have a more socially responsible role within our society. Co-creation - always with the end-user in mind.’ 
Would you like to chat some more about how digital technologies can help create socially responsible experiences? Mariska and the team at Greenberry would love to talk with you.
<figure><img src="http://cms.dutchdigital.design/uploads/Greenberry-6.jpg" alt="" /></figure>

Partner in the Spotlight: Greenberry for socially responsible digital design

Partner in the Spotlight - Greenberry

<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/812908005" frameborder="0"></iframe></figure>
 Let’s look back at SXSW 2023 when we, Dutch Digital Design, were again part of the New Dutch Wave trade mission, in collaboration with CreativeNL. In Austin, Texas, our partner agencies Fabrique, code d’azur, Capitola, Resoluut together with Soda Studio and Superheroes took to the stage to share their thoughts on the future of digital design, augmented and immersive technologies. Followed by a panel discussion about the potential of digital technologies, and how these can help contribute towards resolving certain social issues.
Our event ‘The Future of Realities’ was a big hit, with an international crowd of 200 visitors. Time to chat to our board member Suzanne Visser who was there to experience it all, and who came back totally inspired.
Our mission ‘As a collective we are constantly looking for opportunities where we can share the best Dutch digital design, as well as giving Dutch digital design agencies a stage to share their work, thoughts, skills and passion. 
Our mission is to connect this amazing work and these wonderful creators with a global audience of potential clients, partners and talent. To share, expose and inspire. 
My mission was to look for inspiration, to see what the future will bring and what new technologies are out there. To learn about, but also to share with our Dutch Digital Design community back in the Netherlands. As technology is moving so fast. And at SXSW there is always something mind-blowingly innovating.’
<blockquote>To discover and explore new and relevant technologies and innovations. Being inspired by all of this always starts the best conversations. That’s really meaningful to us. To know where we are at in the world of design and technology. Amanda Boomstra - Fabrique </blockquote>
<figure><img src="http://cms.dutchdigital.design/uploads/7eb67014-2255-4ef2-aaff-9fb227288986.jpg" alt="" /></figure>
Mission completed
‘Did we complete our mission in Austin? Yes, yes, yes. Together with New Dutch Wave and CreativeNL we created a fabulous stage for our Dutch Digital Design partner agencies. A stage where they could share and show how amazing the work and skill is we have here in the Netherlands. 
Along with the panel discussion featuring Barbera Wolfensberger (Director General of the Ministry of Education, Culture and Science), Alexandra Popova (Adidas), Karen Palmer (Storyteller and TEDx Speaker), Mia Huynh (T-Mobile) and Tom Beck (Society of Digital Agencies - SoDA), where we shared an inspiring vision of the future with regards to the potential of digital technologies. 
And we definitely laid some great foundations for future collaborations. For both Dutch Digital Design, as well as our partners. Enabling us to create even more digital impact internationally, as well as opportunities for our partners to expand their business. We have met inspiring international brands, prominent investors and government representatives. But also established new liaisons with German and Austrian delegations and members from the Society of Digital Agencies (SoDA). 
<blockquote>You get bombarded with all the latest technology on offer. This might leave you feeling like you’re already behind. And that’s exactly what we - Resoluut - talked about at SXSW: how to avoid FoMO by applying a simple framework to your idea and see if it really is the right time right now to go ahead with that particular technology. Rory de Graaf - Resoluut</blockquote>
<figure><img src="http://cms.dutchdigital.design/uploads/groepsfoto_1.jpg" alt="" /></figure>
Suzanne’s outtake ‘It was a truly impressive event for me. I loved the openness and energy in conversations. Not just about opportunities, but also about the challenges people are facing. With regards to work, growth and ambitions in general, but also more specifically about the issues we need to consider from a social point of view.
Many of the talks and sessions were focused around the societal impact of technology. How we need to pay attention within our field of work to what is happening around us. For example, how to battle against AI bias, and to always consider inclusivity and, therefore, diversity, in everything we do. That was truly insightful, and an important theme throughout.
One of our panellists and futurist, Karen Palmer, shared this incredibly clever and impressive AI based computer technology with us: cutting edge facial detection - integrated within an interactive film. So, whilst watching a video on your mobile, it analyses your unconsciousness by tracking your eye movements. Depending on these measurements, each user will see a different storyline. Just one of the many literally eye-opening technologies I was made aware of.’
<blockquote>A perfect mix of coders and creatives pushing the boundaries of technology and our imagination.
Being amongst a new breed of tech savvy artists who are aiming for human-centred work, SXSW feels like coming home. An event as contemporary as it can be. Cees Dingler - Capitola </blockquote>
Next steps 
‘Our goal is to keep on sharing outstanding Dutch digital design, skills and knowledge. SXSW was a great stage to do exactly that, and only inspired us more. We will continue our conversations and partnerships with the relevant Dutch authorities to promote Dutch digital design abroad but also in our own country. 
In a couple of weeks, New Dutch Wave is organising a SXSW reunion, where we and several speakers will share our experiences of the event with the community here at home. This will take place on Tuesday, 9th May, at Pakhuis de Zwijger, Amsterdam. 
Also, we are excited about our continued collaborations with Dutch Design Week, Embassy of Dutch Creativity and organisations like FITC.
Finally, we are always open to talk and excited about new partnerships and event collaborations. So, if by reading this, you are inspired to talk with us, please send us a message. We would love to hear from you.’
<blockquote>SXSW is a place where incredibly passionate creative and digital experts come together. To be given the chance by Dutch Digital Design to share our thoughts and work on a live stage right there, and opening a new code d’azur office in Austin, Texas, made it even more special this time. A truly unforgettable and inspiring week! David Vogel - code d'azur</blockquote>
<figure><img src="http://cms.dutchdigital.design/uploads/IMG_6153.jpeg" alt="" /></figure>

When Suzanne Visser & Dutch Digital Design 
did SXSW 2023

Dutch Digital Design at SXSW 23

<figure><img src="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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="http://cms.dutchdigital.design/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.

Dutch Digital Design sharing the bestinteractive work fromthe Netherlands Submit case

An ancient folktale through a timeless digital experience

The Bird of a Thousand Voices

by

Sleek and futuristic e-shopping experience for fonts-of-our-time foundry

Bézier

by

From brand system to informative content and beautiful digital design

Zentry

by

Aesthetically captivating, smoothly built. A clean digital club experience

Radio Radio

by

Creating digital presence with bold, no code immersiveness

Ask Phill & Analogue Agency

by

Sculpting a movement for morally ambitious firestarters

Case: The School for Moral Ambition

by

From physical card to a sustainable, immersive digital experience

Nationale Bioscoopbon

by

Next level immersiveness to create digital stand out within urban design

Studio D outstanding online presence

by

A stylish digital amalgamation of fashion, gaming & anime culture

ark8.net

by

Digitally sailing through Gehry's Walt Disney Concert Hall

Sculpting Harmony

by

Dutch Digital Design.Stories. News. Events.

June Park: driven to create user experiences with societal impact

Dutch Digital Design curator: June Park from Fabrique

Interview

Introducing Morrow: change for good, hear the youth

Partner in the Spotlight: Morrow

Interview

Kamiel Meijers from 51North. Making the digital journey tangible.

Kamiel Meijers - Dutch Digital Design curator

Interview

Meet Merlin. What makes their work magical. Imagine. Code. Magic

Partner in the spotlight: Merlin Studio

Interview

Who's in charge of making AI more socially responsible?

AI and social responsibility. What our partners say.

Thought Leadership

Your Majesty: about branding and uniting the curious

Partner in the Spotlight: Your Majesty

Interview

The impact of AI within the creative industry. What our partners say

The impact of AI within the creative industry - part I

Thought Leadership

Margot Gabel: passionate about connecting digital design with emotions

Margot Gabel Build in Amsterdam & Dutch Digital Design Curator

Interview

Christian Mezöfi from Dentsu Creative: loves detail and 3D design

Christian Mezöfi Dentsu Creative & Dutch Digital Design curator

Interview

Welcome ACE, Cut the Code, DotControl, Lava and Merlin Studio

welcome to five new partners

News

About making Nike’s invisible React technology visible

Nike React: Game of Go by

Dutch Digital Design
sharing the best
interactive work from
the Netherlands

Submit case

Dutch Digital Design.
Stories. News. Events.