Zendesk - Zendesk AI Summit 2024

The inaugural Zendesk AI summit took place in October 2024, with both an in-person events in New York and a digital event with a global audience. Zendesk announced new innovations in AI made for CX in service of humans.

My role included developing the art direction, mapping imagery architectures, then leading teams across photo, video, animation, and events in execution of assets across the program.

Through the program, I introduced two net new processes for our creative team–integrating generative AI into our photography process as well as leading cross-functional workshops to align our creative and product teams to bring life to our new product capabilities in new ways for the brand.

Creative direction
For the Zendesk AI Summit, we wanted our customers to feel confident in the partnership with us and to feel equipped to tackle their challenges head on. We took inspiration from graphics usually associated with B2C athletics wear, with bold, high-contrast graphics systems, dramatic human imagery with dynamic angles, and glamorized product imagery to capture the energetic qualities of the product.

Layout
We looked to our product for inspiration for shape language, and towards the more energetic properties build into our logo for layout systems to ensure the materials felt rooted in product innovation and Zendesk even in moments that were human-centered or features non-Zendesk imagery, like speaker announcements.

Product innovation
Our hero imagery for the event focused on product UI to support the innovations that were being revealed and demo-ed during the event. Product UI imagery had various level of expression and product accuracy for different moments in the funnel, enabling product demo teams to use branded graphics that meet the energy of the moment without sacrificing product accuracy and clarity.

Do you ever use Figjam as an illustration tool for quick compositonal experiments and annotation? No? Yeah, me neither

My Figjam mockups :-)

Human-centricity
Our hero imagery for the program featured targeted user personas for the products being revealed at the Summit, including employees, agents, end-users and decision-makers.


These images served all the event deliverables, but also were the first in our brand library that set to redefine our photography approach to focus on more authentic, natural imagery of the heroes of customer service, and thus became evergreen assets that could flex into the website and future campaigns.

For our new imagery, I created and implemented a brand new strategy for utilizing generative AI within our creative process. Aside from reducing days worth of finding references and building mockups, our team was able to better align with stakeholders and communicate more clearly with production partners. (Full case study coming soon)

Motion system
The AI Summit lived and breathed beyond static executions. A full product keynote, demand-gen assets, and product announcement videos required a departure from the more distilled, refined mother brand motion style to bring in something that was appropriate for our event–more energetic, dynamic, and colorful.

Zendesk - Relate 2024

Zendesk Relate 2024 took place in Vegas, and our brief asked us to bring the heat. Zendesk brought together 3000+ CX leaders to Vegas for the week to reveal new product launches, AI innovations, and strategies for making your business better with your customer service.

The creative team developed a concept that matched could match the heat of the event, while allowing us to stand out in Vegas, where content is fighting for your attention at every turn. I mean, who can compete when your event is next door to the Sphere?

Myself and my team developed the animation direction and kits that allowed us to serve keynote presentation, promotional materials, and spatial animation (custom animation for the DJ booth, duh).

Early inspiration for systems came from amazing work by the pros, like How To’s brand identity for Deadly Dust, and select moments from Material You by Oddfellows. I believe references only go so far, and the goal of a motion system to should be to capture the core feeling of a brand or branded moment.

I always find that the best motion results come from speaking with designers and animators about about these feelings and experiences that feel familiar to us. Our working sessions looked like fewer moodboards, and more conversations and alignment of the emotional and physical experiences. (“This moment should feel like you’re stepping out onto the hot-ass tarmac at the Vegas airport! or… “Can we make this into sequence feel as dramatic as an eclipse?”)

Defining animation styles for gradients is a challenge that never gets old for motion designers. The incredible Sara Farnsworth helped me bring the styleframes below to life after a few rounds of developing a new motion behavior for the Zendesk logo that wouldn’t conflict with the slow, sultry, hazy style of the gradients that were developed initially for the art direction.

After developing the motion system, Colin Thomas helped to scale it. We created mogrt kits and animation styles suited for both complex graphics (diagrams, product UI animation) as well as simple ones (again, DJ booth). Being able to reduce a motion system to stay simple but still express the core stylistic techniques that make it unique and sticky for attendees is the most challenging and rewarding part of scaling a system.

Looping hold screen for the mainstage by Colin Thomas

We had a team of incredible presentation and brand designers ready to flex into motion to scale the system. Arienne Gagui brought the system across all stage graphics, with multiple synced screens that supported keynotes, musical performances, and an appearance by Michelle Obama.

Walk on sequence designed by Arienne Gagui

Zendesk - Workforce engagement photoshoot

I helped our imagery team at Zendesk develop a narrative strategy to inspire a photoshoot to accompany the launch of our new Workforce engagement tools. I was responsible for ensuring the end product met all the requirements of social, launch announcements, live-action spots, and digital pages, and for helping the team develop a creative direction that supported the energy of the launch.

The challenge: Creating human stories to support AI-first workforce management tools

the solution: Putting story-thinking first, grounding the work in our product features, and having fun with use-cases that resonate with our target industries and our customers.

Imagery alone won’t do it for our customers. Workforce managers need the dirty details on the tech stack, so all imagery is supported by the features themselves–from forecasting to AI-powered scheduling.

 

No stone left unturned! Some before-and-after images based on the thumbnails I sketched out for our shot list.

 

Photography by Ren Adkins

Nike - Zoom House of Innovation

Nike Zoom multi-sensory discovery center celebrating the NYC Marathon at House of Innovation NYC.

I worked with the team at Hovercraft to deliver storytelling, design & content execution for nearly 100 screens, as well as animated LED lighting, custom audio and a handful of interactive site-specific experiences.

Working with developers, designers, and in-house creatives from the Nike team, Hovercraft developed storytelling content to speak to the folks who either ran the city daily, or were coming in from out of town.

I worked with a team of animators and designers to bring these stories to life throughout the store.

Nearpod - Alice in Wonderland

Animated video for Nearpod.

Art direction, storyboards, design, and animation.

Title design motion graphics saying "Alice in Wonderland" in handwritten font. The camera pans down to reveal Alice and her sister sitting on a hill under a tree. Graphic collage style.
storyboards for alice in wonderland

Zendesk - CX Trends 2023

The Zendesk CX Trends 2023 Report covers the rapid change in customer expectations and technological advancements that industry leaders will see in the coming year. This year, Zendesk went all-in to support the digital report with video assets both for promotion and educational engagement.

Tori Cincotta and I led our small but mighty in-house team to create five videos (one to cover each of the trends) as well as promotional material that aligned with the great illustration work done for the digital report by Derek Abella.

 
 

The educational video content embedded within the report expanded upon each trend. We interviewed our specialists and created animations to help give context and color to their words.

 
 
 

Lead, Storyboards and Design: Mary Vertulfo

Lead, Animation: Tori Cincotta

Story: Mary Vertulfo, Tori Cincotta, Ken Hammond, Kevin Cline

Animation: Tori Cincotta, Colin Thomas, Sara Farnsworth, Mary Vertulfo

Editorial: Monica Yap, Victor Duran, Kevin Cline

Campaign Art Direction: Kim Mar

Campaign Creative Direction: Sam Bathe

Jordan Virtual Training Sessions

Hovercraft Studio had the sweet opportunity to design and launch the Jordan Virtual Training Session series during the height of covid, with @Jumpman23 providing student-athletes from 12 schools, spanning across Chicago, New York, and Los Angeles, with a 6-week virtual training experience, led by some of the top trainers in the country.

My Role: Animation, Layout, Editing, Cutdowns

Credits

Client: Jordan

Produced at Hovercraft Studio

JETTY RENT

Hovercraft studio was brought back to help our friends at Jetty integrate their new product, JettyRent, into their brand and existing product suite. Along with an animated spot, the team at Hovercraft created a library of assets for Jetty to use across all platforms to bring JettyRent into action.

My role: Storyboards, style frame exploration, 2D animation.


Morning Comes // Sasami

Sasami brought me on board to create animations and show package designs for her new music , Morning Comes.


Starring: Halmoni (SASAMI's grandma)

Directed by: Sasami Ashworth & Eric Notarnicola

Director of Photography: Jeremy Asher Lynch

Graphic Design: Mary Vertulfo

Animators: Stuart Inamura & Mary Vertulfo

Editors: Drew Kordik & Eric Notarnicola

Make-up Artist: Allison Burns

Production Assistant: Meredith Grace Jones

Translation: Young Ashworth & David Choe

Audience Members: Jack Ashworth, Julia Pak, Rachel Jiwon Duffy, Elise Dang, Nicole Hagiwara, Howard Kang & Sasami Ashworth

Employee of the Month

A photo diary set in my workplace bathroom, which has great lighting. The photos were taken from Spring 2017 through Winter 2018. For Hyperplum's Winter term show in the LaVerne Krause Gallery, titled Supermarket.

Employee of the Month follows one of the most tumultuous and exciting years of my young life in no particular order. It both catalogues the monotony of the 9 to 5 lifestyle, and celebrates the joy of escaping to a large, sunny bathroom at the end of a hallway. 

Here, boy!

For Hyperplum's Spring term show in the LaVerne Krause Gallery. Swerve, curated by Lucy Miller, meant to help the artists diverge from their natural path. This piece, Here, boy! sought to create narrative and dialogue about identity in a situation which lacked a narrative subject. 

Here, boy! recalls the childish gimmick of the invisible dog toy, where one could feign ownership of a non-existent canine friend. This piece draws on themes of spectacle, ownership, the forced performance of people of color in public spaces. It objectifies and defines the non-existent dog through its drab surroundings in the kennel, and yet still manages to preserve its dignity through its unique and exotic name and collar. It implies a dark and forced subordination, yet maintains a playful and comical air. 

The Walk Between Your Place and Mine: A Collection of Poems About Science and Comics About Love

The Walk Between Your Place and Mine is a collection of comics written and illustrated in July of 2017 at the Animation Workshop in Viborg, Denmark. 

1. ON NEW FRIENDS

2. LEAVES IN GARDE

3. NEW PRESCRIPTION

4. RE-INTRODUCTION

5. COMICS I HATE

6. UNLIMITED WILD BIRDS

 

The Fifth Day of May

The Fifth Day of May is a series of illustrations which follow the narrative of the song "ISIS" by Bob Dylan. Under the instruction of Signe Parkins at the Animation Workshop in Viborg, Denmark, I edited the story by cutting and pasting words from Alice in Wonderland and created compositions by working with collage, and painted the final versions with watercolor and ink.

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Year of the Samsung Galaxy S8

The Year of the Samsung Galaxy S8 was a mini-comic created for Ty Warren's Digital Drawing Class at the University of Oregon in the Fall of 2016. It explores ideas such as social media, language, consumerism, the millennial generation and youth involvement with world politics. It was inspired by Infinite Jest by David Foster Wallace and a conversation about Donald Trump in the wake of the 2016 election.

It has been printed as a zine, hand stapled and distributed over the last year on campus and around Eugene. Translation by Camilla Markussen (Find her work here.) 

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