Making Complex Stories Accessible to a Broad Audience
A Blade of Grass
User Research, Branding, Visual & UX Design and Website Development
A Blade of Grass (ABoG) is the first nonprofit dedicated to supporting artists or creative practices that aim to improve conditions in a particular community or in the world at large. Their primary mission is to support and present socially engaged art, while actively developing and seeking operational funding through cultural grants and public donations.
This redesign effort was the first comprehensive look at design and branding since ABoG’s inception as a private foundation in 2011.
Challenge
Primary research surfaced two core challenges that were fundamental to the success and longevity of this mission-driven organization.
To help the ABoG successfully apply for grants and philanthropy, we needed to clarify who they are and what they do. The original rabbit brand identity did not express the mission-driven nature of their work or impact on social causes. This disconnect increased the difficulty of grant development and fundraising.
The next challenge was how to create a museum without objects. Socially engaged “artwork” could artistic activism, community-based events, creative placemaking, cultural organizing, participatory art, social practice, and social sculpture. The ABoG website needed to become a “museum” of socially engaged, non-object-based art.
Solution
Our strategy focused on four keywords – “Social, Engaged, Art, Museum” – that comprise the core principle of the ABoG mission.
We created a simple brand signature that is a metaphor for the mission. This is the centerpiece of a design system to frame the brand with echoes of museum branding characteristics —clean, bold typography with a refined use of white space.
The website is based on the same minimalist voice—the layout, documentary visuals, light background, and mastered white space give air and freshness to content-heavy pages. This approach also ensured that all the diverse visual content, from public-generated photos to professional shots and videos will look good on the pages. A variety of elegant page templates, smooth animation, engaging scroll, video integration present the artist’s projects to a wider online audience.
To appeal to a wider audience and improve wayfinding content, we created a robust, Filter Tool with two taxonomy classes that can segment and sort content by social “issues” and/or “ideas” that artists address in their socially engaged art.
Outcome
In the first 12 months:
9% increase in number of users
7% increase in number of new users
8% increase in number of sessions
115% increase in page views
100% increase in pages viewed per session
Impact
I can personally say the website and brand were easy to adapt and really helped maintain clarity and boldness across all of our work. In general, it seems like people have increasingly understood what we do.
—Karina Muranaga
Design & Experience Manager
Project Summary
A combination of user-directed filtering functionality, restrained visual design, subtle animation, and smooth media integration help bring artists’ socially engaged artwork to a wider online audience—the communities in which they engage.
PROCESS AND WORKFLOWS
Mapping the Problem Space
1. Why that Name?
Primary research interviews with founders, board members, and staff showed the name’s origin was forgotten. Working with stakeholders, we defined a brand narrative that aligned the name to the foundation's mission.
A Blade of Grass is a metaphor for the socially engaged artist who sets roots directly within the communities they engage. The interlocking root system of many blades together makes our social foundation stronger and healthier.
2. What is Socially Engaged Art?
As part of our subject immersion, we discovered socially engaged art or socially engaged practice can include any art form which involves people and communities in debate, collaboration, or social interaction. This can often be organized as a part of an outreach or education program, but many independent artists also use it within their work.
The participatory element of socially engaged practice is key, with the artworks created often holding equal or less importance to the collaborative act of creating them. As Tom Finkelpearl outlines in his book What We Made: Conversations on Art and Social Cooperation, social practice is ‘art that’s socially engaged, where the social interaction is at some level the art.’
3. Who, What, and Why?
Surveying all brand users and stakeholders, we heard from fellows, fellow candidates, grant reviewers, and communities in stress a range of important messages and needs, depending on segmented perspectives. While there were many individual voices, we compiled patterns of thinking for each core user group:
Artists/practitioners seek recognition as agents of change
Financial supporters seek programs grounded in serious scholarship
Project participants seek commitment to social justice and systemic change
General audiences seek accessibility and browsability
Brand Identity Design Development
Brand Identity Architecture
Sub Branding of Public Programs was developed with a sundown strategy where the branding moved to singular use of the Primary Brand Identity Signature.
Engagement Strategy
We developed a ‘signal and response’ tactic built on the core tenants of socially engaged art: verbal and visual prompts—open questions that trigger emotional engagement and dialogue.
Brand Collateral
Open Call Postcard Promotion
Artist Fellows’ calling cards are designed for short-run and low-cost production
Magazine Cover Template
Responsive Email Formats
Integrated Social Media
Social media continues the ‘signal and response’ engagement tactics, integrating the prompts in the launch of the new brand and website. Our client partners at the foundation, working with the Brand Design System and component library, continue to produce dynamic content that is in line with the brand vocabulary.
Museum Experience for Socially Engaged Art
Above the Fold
A simplified above-the-fold layout addresses the cognitive load described in user interviews. Navigation is gated and the curated slider is ideally set to 3 slides and limited to 4 maximum pushes.
Below the Fold
Bold color contrasts establish horizontal zones defining a strong content hierarchy. Controlled use of color and typographic elements reinforces the structure of content funnels. Clear calls-to-action prompt users with event buttons or paths towards deeper content.
Navigation
User data indicated a majority of users enter the site through content, visiting 4 pages or more. As new users track as the primary navigation users, the navigation is organized in two columns, content-areas on the left and institutional pages and search tool on the right.
Browse and Seek Functionality
Browse and seek was a high-value user request in early testing—the ability to filter to search relevant content. A robust, Content Filter Tool with two taxonomy classes segments social ‘issues’ tags as well as ‘ideas’ tags, giving users the ability to drill into specific social issues or concepts that artists address in their work.
Content Filter Tool
Filtered Result Pages
Museum Staging and Presentation Layouts
Films Summary
Film Detail Pages
Events Summary
Event Detail Pages
Meet Our Fellows
Fellow Profile Pages
Magazine Summary
Editorial Pages
Related Projects
Let’s Work Together
We’re always open to new opportunities and are comfortable working internationally. Please get in touch and we will contact you about beginning the proposal process.