Mohawk in Motion is a series of paper cut stop motion vignettes for social media showcasing the vibrant versatility, strength, and character of Mohawk’s Keaykolour line of paper.
Mohawk in Motion
social marketing campaign, stop motion
Based in New York, Mohawk Paper is a fourth generation owned and operated business founded in 1931. Mohawk is highly regarded in the design field as the leader in manufacturing fine papers, envelopes and specialty materials for printing. Mohawk is known for its high-quality products and its gorgeous and inventive publication Maker’s Quarterly, which showcases cutting edge layout, paper, and printing techniques. In addition, Mohawk is committed to solutions for lessening commercial environmental impact by sourcing and harvesting from sustainable resources, using recycled fibers, water conservation considerations, and harnessing wind power.
challenge: Independent student project
timeline: 10 weeks
selecting paper stock and colors, research
illustration, prototyping and build of animals, and some environmental assets
manipulation of assets on camera
collaborators: Kim White, Wilfred Aldrich
tools: Illustrator, Epilog laser cutter, CaptureOne, After Effects
Video ads are the top way that consumers learn about a brand, with Instagram standing out as the most popular platform for ad purchases- followed by Facebook and Youtube. Advertising on social media platforms can be problematic due to the sheer influx of information and competing content vying for viewer’s attention. We wanted to make delightful and attention-grabbing vignettes that would surprise viewers and encourage creative endeavors. Mohawk’s reputation for fostering creative pursuits is unrivaled.
What can we #makewithmohawk?
Mohawk knows the significance of sustainability and we focused our attention on the brand values of Mohawk's Environmental Program, which aims to shed light on their sustainable practices. Knowing that every good product starts at the source, we built a set consisting of a paper forest with animals and plants thriving together.
Leading the campaign with the existing tagline of “What will you make today” we set out to challenge our skills as designers and showcase Mohawk’s line of paper products with a unique perspective.
Visual design is rarely experienced dimensionally. We wanted to explore the tactile nature of paper craft and juxtapose its rigidity, flatness, and other characteristics by putting it in motion. None of us had experimented with stop motion before and we wanted to challenge ourselves outside of the screen as well as push the experiential part of the design process.
At our heart, we are makers and needed to embrace playful experimentation and accept the possibility of instructive failure.
We began by using oversized sheets of paper so we could draw close to the scale of our anticipated final set. It was important to visualize how much space was needed to tell our story and to estimate how many assets would be needed to create an immersive, evocative experience.
We brought our illustrated elements to life with the laser cutter. After many iterations, we got each element dialed in for placement in the set. On the last day of shooting, I illustrated the bear character using some previous studies I made at the Woodland Park Zoo. Because the character was large, I felt it needed to be differentiated from the other elements or its surface would be too flat. Using the laser cutter to etch fur was an experiment that paid off.
As assets were created from our cut illustrations, we spent time working on how to bring them to life. For instance, how can a tree stand and not tip everything over? We experimented with many body types and leg configurations for our animal characters in order to create charming silhouettes that stood unaided.
constructing the scene:
As Kim and I created the forest elements we could really see how everything fit nicely together. Mohawk’s Keaycolour line is amazing in that every color match seamlessly together. Wil’s addition of the lily pads and mushrooms really added a nice touch to the storytelling.
Our final storyline in our storyboard was to deconstruct the set small snip by small snip and reverse the footage in post-production, so it looked like the elements were growing from nothing. I have to admit, I enjoyed destroying the set we had worked so hard to construct. It was tedious work, but it paid off.