Flicka Williams

Connected Home is a suite of products and services which opens customers’ eyes to incredible entertainment and communication possibilities when their homes are uber-connected.

To help the customers understand these amazing possibilities we worked with 21.19 and artists Craig & Karl to develop an interactive in-store retail experience which allows customers to build their own connected home. 

We scripted, storyboarded and directed a number of unique animations to help explain the connected home offer in-store.

Created at Interbrand
Connected Home Concept: DDB & Interbrand Sydney
Animation & Production: 21.19
Character design & Illustration: Craig & Karl
Direction, Script, Storyboards: Joao Perez, Flicka Williams, Chris Maclean

Telstra recently launched their flagship store of the future in George Street, Sydney and as part of the store experience they asked us to create an iconic carrier bag.

Our goal was to bring ‘Spectrum’ (Telstra’s visual language of colour and angularity) to life in three dimensions. The idea was to create an innovative form factor that would be instantly recognisable on the high street and create wow-factor for customers in-store, all whilst being 100% recyclable and flat-packable. 

Our research revealed that many high street fashion brands and Telstra’s competitors were not producing environmentally friendly bags since they had cord handles or matt-laminated finishes. We knew from the offset that the volume of carrier bags Telstra would require could have a negative environmental impact if we got the design wrong so we gave ourselves the constraint of using only 100% recyclable materials.

We partnered with internationally renowned artist and paper engineer, Benja Harney, to bring Spectrum to life in 3D. We conducted research into the customer experience, typically packaged products, supply chain, in-store storage and employee behaviour. We discovered that two sizes would be needed – one for a mobile phone box and an accessory, and the other for larger items such as the T-Box. Interbrand identified five blue-sky creative directions before selecting one with the client for further development. Working with Benja, over 50 prototypes were developed to find a unique and ownable form that would bring some theatre to the store experience whilst ticking the practical consideration boxes too. Finally one bag presented itself as the clear winner.

The Spectrum Bag takes its shape from two opposing triangles at the base and opening, creating a unique form that is highly sculptural and distinctly Telstra. Following Benja’s prototypes we handed the designs to Paper-Pak to finalise the engineering and create the final die-line. The bag comes in the four Telstra colours and features a single scored fold on each side to create more volume inside and elegantly connect all faces.

The bag is currently being trialed in Sydney’s George Street flagship store but will eventually roll out to all stores across Australia.

Created at Interbrand Sydney
Senior Designer: Flicka Williams
Creative Director: Chris Maclean
Paper Engineer: Benja Harney
Production: Paper-Pak

Recently I completed a General Assembly, 12 week, User Experience course where I created PalPort. PalPort is a travel platform that let's you connect and automatically record all you travel experiences in one handy place. This is currently under
construction and hopefully I can share some more details on this soon. Watch this space.

Darling Harbour is a larger then life tourist destination in Sydney, Australia. Over the years the precinct had become a clutter of different brands and messages. Our brief was to connect a disparate precinct experience, and capture the fun and vibrancy of the place. We created the world’s first inflatable wayfinding and Environmental Graphics system. An inflatable typeface and signage balloons clearly and simply connect a broad range of businesses, destinations and events across the precinct. We also created an augmented reality app that directed you around the precinct through live augmented balloons. These balloons not only direct you, but you can also send balloon messages to your friends and play 'Balloonee' where you capture and pop all the balloons around the precinct.

Created at Interbrand
Designers: Diana Chirilas, Flicka Williams
Creative Director: Mike Rigby

Awards: In-Book D&AD 2014

You’re sitting at your desk, phone ringing, inbox full. And in 15 minutes time, you’re supposed to go and give blood. Err, how?

That’s exactly the challenge faced by the Australian Red Cross Blood Service: busy corporates just don’t have time to donate.

So when it came to its group donations program (then named ‘Club Red’), the uptake was considerably low – even with its big ambitions to collect a quarter of Australia’s total blood supply.

For us, the trouble was two-fold: it wasn’t sharing its story, nor did it have time to waste. So how could we convince busy corporates around the country to get onboard and donate blood together?

Our brief was to create a brand with equal parts passion and punch, driving big corporates and the brand’s mission in a heartbeat. Put simply – it was about getting straight to point.

With a noble target to achieve 25% of Australia’s blood donations, we saw the beginnings of a compelling story. A chance to shift the brand’s focus from demand-driven to a constant, core supply, we wanted to create a rally call, starting with an inspiring, tangible goal.

From the brand idea ‘Core Contributors’, we created the name Red25. Simple, direct and full of pride, it heroes the brand’s 25% mission straight-up with full transparency.

Elevating this percentage was key to grabbing attention in a tired category. So too was our tagline, ‘Unite to Save Lives’. Carefully worded to inspire emotion and action, it makes big corporates feel part of something bigger – a real movement to save loved ones.

Together, these elements influenced every part of the identity for Red25, from the tone of voice to the design language; the graphic system, iconography, photography, illustration – even the hierarchy!

Garis & Hahn is a new art gallery on the Bowery in New York. When they came knocking at our door, we jumped at the chance to help them define their strategy, brand identity and interior environment.

The vision of Mary Garis and Sophie Hahn takes a fresh approach to the commercial art gallery model, it fosters conversation and honours contemplation. The gallery focuses on taking a themed curatorial approach for emerging and established artists alike, with an emphasis on the ‘Here and Now’.

We created a brand inspired by a time line, and a brand mark that is built on capturing the here and now. Every time the brand stops along the timeline, it catches not only the current exhibition, but also a snapshot of a show just passed, or to come.

The brand is rolled out across a variety of collateral, from posters and postcards, to business cards and environmental graphics, and soon to be interiors.

The gallery has been approached by Rag and Bone to collaborate with them on a series of shows within their Meatpacking pop-up, and has obtained a flurry of press throughout the local art industry. The gallery officially opened its doors on the 28th of March and we were lucky enough to have our own Sally and Chris there to witness the big day.

Created at Interbrand
Designers: Annah Brockelbank, Flicka Williams
Design Director: Chris Doyle
Creative Director: Mike Rigby

The Melbourne Red Cross Headquarters is a state-of-the-art building built to withstand earthquakes and other disasters to ensure that it can continue to supply blood in a national emergency.

Although extraordinary, the facility is cold and clinical. Our task was to create an environment that would make the hundreds of staff feel proud of the work they do, and serve as a visual tour for guests and visitorsincluding students, government officials, families and health professionals.

Based on the idea of 'The Amazing Journey'. We transformed two floors of the building to visually narrate the many processes the blood goes through from donor to patient. The journey is littered with facts and stories about blood and features iconic characters that has contributed to The Australian Red Cross. Visitors will be able look into the labs at each stage and a iPad app was developed to provide additional interactive information at each stop.

Created at Interbrand
Designers: Flicka Williams, Eric Ng, Sally Taylor
Creative Director: Chris Maclean

Our brief was a tweet. “Wanted: Dynamic and motivated designer to spruce up the Al Carbon truck before we hit the streets of Sydney.”

In a warehouse in Canterbury (doubling as La Lupita, up until recently, a twice weekly pop up restaurant before moving to The Basement) we met Attila Yilmaz to discuss the opportunity to brand his colossal food truck over tacos, raspados and some Mexican beers.

Attila was about to launch Al Carbon as part of the City of Sydney’s licensed food trucks trial. A retired policeman, Al Carbon (which means ‘over charcoal’) was his chance to throw himself into something he loved: food. After some time travelling around Mexico, Attila had discovered authentic ways to cook Mexican food, coupled with hints of inspiration from his father and his Turkish roots.

Inspired by our surroundings, we had an idea. What if we could transport our studio to the warehouse and do something we’d never done before – create a brand in a day? So one Saturday, we assembled a gang of 20 interior and graphic designers, writers, brand strategists, management and client service people, macs, and flipcharts to La Lupita. We broke into teams, meeting each hour to discuss ideas, agree direction and to allow Attila to be involved every step of the way. We developed a customer journey, social media strategy, brand identity and graphics for the truck as well as the brand story of Al Carbon.

Literally, a brand in a day!

We agreed the brand of Al Carbon would be a mythical place. Everything on the truck would be ‘the best of Al Carbon’: The best chef of Al Carbon, the juiciest limes, the sweetest pineapple. Wherever the truck pulled up it would transform the space it occupied so visitors could enter the world of Al Carbon. To communicate the idea, we conceived the brand as a tourist campaign. ‘Visit Al Carbon.’ In transit, the truck was a big tourism ad for itself. When static, it became Al Carbon the place. We used bins to create a perimeter around the truck, so visitors actually have to cross the border (and are asked to abandon all Mexican cliché’s like moustaches and sombrero’s – this was to be an authentic experience after all!) We designed immigracion, where customers order their tacos and drinks. And we focused the queue along the side of the flame grilling barbecue where the theatre of cooking the meat captivated all the senses.

Al Carbon has been a resounding success. Launching at the Feast festival in Sydney, Attila served more than 800 people in one night. Just recently, a smaller version of the truck was a big hit at Splendour in Byron Bay. The Good Food Guide named it in their review of best new places to eat, claiming ‘hands down best taco’s in Sydney’ and Sydney’s most popular bloggers have been raving about the food and the experience that is on offer ever since. Oh, and we won an innovation award for the work within our own Interbrand network 

We’re incredibly proud to have played a part in helping to make Al Carbon a success. Seeing (and waiting in!) the queues and the smile on Attila’s face has made it very worthwhile.

Concept: 19 Interbranders
Designers: Chris Maclean, Dan Ingham, Eric Ng, Diana Chirilas, Jefton Sungkar, Jessica Waal, Flicka Williams
Creative Directors: Chris Maclean, Mike Rigby

Wild Oats came to us with a new kids breakfast product idea, fruity oat clusters.

Their main cereal range for adults 'Big Oats' had been selling steadily for the past year but they wanted to increase sales by engaging with the mums through this new product. Therefore pushing up sales of not only the kids cereal but also 'Big Oats'.

Our brief was to name and package the new oat clusters as a healthy breakfast alternative. The product is 100% Australian made, unlike so many cereals on the shelf so we decided to build on this idea.

We ended up landing on the name 'Crunch Time' as we felt this was playful, memorable and could be associated to a specific time of day, that being breakfast. We chose 3 different Australian animals as the variant differentiators the kangaroo, kookaburra and wombat and started to develop characteristics as to how they could interacted with the clusters and fruit. Watermark illustrators came on board and we collaborated with them to create a playful, interactive series of illustrations that the kids would love.

The outcome was a huge success with the packs flying off the shelves in Coles and Woolworths. The packs did a great job of re-energising the Wild Oats brand with a large sales increase for their 'Big Oats' cereals also.

Created at Hoyne Design
Creative Director: Rainer Bulach
Designer: Flicka Williams
Illustrators: Watermark

The positioning for this Coles vodka brand was ice cold purity due to the vodka's unique crisp, sharp flavour. 

After many rounds of taste testing net vodka Hoyne created the name Blue Kube to conjure cleansing images of ice and crystal clear purity. We introduced an abstract image of glacial shards printed on the back of the bottle – a striking, memorable 3D effect that jumped off the shelves.

Launched exclusively through Liquorland, 1st Choice and Vintage Cellars the groundbreaking Blue Kube brand returned substantial sales with high margins for Coles.

Created at Hoyne Design
Designers: Flicka Williams
Design Director: Dominic Minieri

Award: AGDA Design Effectiveness Award 2010

For innovative Australian audiobook company, Bolinda, we decided decided to surprise the client by creating a more engaging catalogue experience for the customers.

The catalogue was broken up into three different sections: kids, teenagers and adults and we decided to interview and feature one inspirational author for each.

After a rather large selection process we decided on the mystical Sonja Harnett for the kids section, archaeological Geoffery McSkimming for the teenagers and the explorative Di Morrissey for the adult section. Unique double page illustrations where then created for each author through a series of exploritive ink and paint plays, mixed with images from their books and handwritten headings.

The outcome was a very happy/surprised client that was expecting just their normal catalogue. This created continued ongoing business from Bolinda and the chance to come up with a new concept for the spreads every year.

Created at Hoyne Design
Designer: Flicka Williams
Design Director: Dominic Minieri

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Deakin Estate, a well known iconic Australian wine brand required a new look for their master wine range.

Deakin Estate had always been known for the large 'D' on their labels accompanied with a smaller 'E'. We knew that people signified by the 'D' therefore there was definitely equity in building on the 'D' and making it look more ownable and contemporary. It was also felt that the lables didn't capture the rich fruity flavour of the wine that they were so well renowned for.
 

We teamed up with Watermark illustrators to create a series of watercolour illustrations that depicted a unique flavour description for each wine. A modern simplified 'D' band was also created to successfully brand the set as Deakin Estate and act as an on-self  way finding system for customers. The labels clearly popped off the shelf with high overall  global sales results and a very happy client. 

Created at Hoyne Design
Designer: Flicka Williams
Design Director: Domenic Minieri
Illustrations: Watermark