In 2016 I was grateful for the opportunity to hang some pieces in one of my favourite galleries in Australia, Altenburg & Co coincidently located in a town I often call home: Braidwood.
My aim for the show was to engage with my potential new audience, get some feedback at targeted events, and to test technology requirements and feasibility of interactive entertainment and illustration reaching mass adoption in locations compromised by poor connectivity.
For this show, a group show with Melanie Cansell and Steve Maher, I managed to showhow:
Finish 120 pieces, frame and hung them in 30 days.
Encode 40 pieces with interactive features
Publish 12 augmented reality experiences.
Braidwood experiences were hugely impacted by lack of network connectivity and mobile data limitations.
Telstra customers experienced lag and latency at 3 times that reported by Optus customers.
I then tested the same pieces elsewhere, my favourite finding:
Canberra audiences embraced the technology with 6.3 scans per unique user compared to 1.7 in Braidwood.
Canberra audiences spent on average 2 minutes per experience compared to Braidwood average 7 minutes per experience.
Canberra audiences engaged* at more than 400% more per scan than audiences in Braidwood.
*I'm funny about engagement measurement and determine engagement success equal to the commercial metric it is measured against. In this instance I wanted to understand how a scan converted to commission revenues, which is a tough and specific metric. I do measure impressions, interactions, click through, touch points and other standard benchmarks but rarely find this kind of data useful.
The show was opened by Cindy Pastel, the original Drag Muse and inspiration for 'Priscilla Queen of the Desert', a short video (above) was made again using some new AI tech tricks and hacks I wanted to test, no editor, no post, not perfect, but better than the test before. II did publish an augmented reality experience using LAYAR that was live until July 2017. I loved LAYAR as an augmented reality platform, but they have been acquired by BlippAR. So far I'm not enjoying any platform as much as LAYAR. If I republish somewhere I'll update this page!
The Mark Agency commissioned me to produce a 30 sec TVC for ACTTAB to announce their New Online Betting facility.
Creative Direction, Storyboarding, Writing
DOROTHY CHARACTER DOLLS
Sam Maher's Dorothy Doll a homage to Dorothy Parker
Character Design, Crafts, Toy Design
COAT OF ARMS
Introducing the characters of the Australian Coat of Arms...
Cartooning, Drawing, Illustration
Meet Ginny - Mixamo/Fuse Test 1
GINNY_SAM_MAHER_FUSE_MIXAMO_TEST_1 Quick test of this new Adobe Fuse (Preview) and the Mixamo collaboration (?), Fun and easy, I'm sure once I figure out how to add my own textures I'll be more excitable.
Character Design, Digital Art, Visual Effects
National TVC for the Australian Automobile Association. Produced with Screencraft Media commissioned by Cre8ive.
Advertising, Creative Direction, Film
Branding: Sam Maher
I wanted to create a new identity for my producing and writing activities. I went with postcards because I love receiving mail and with the rise of digital - rarely do; and then I augmented them. My business card I experimented with Aurasma and postcard with Layar.
Branding, Icon Design, Illustration
RIFFS + RANTS Branding
Branding and logo developed for a small music and arts studio, school and shop in regional NSW Riffs and Rants... sticker now augments with Layar
Advertising, Branding, Graphic Design
ICONOCLASH is a series in development. The series consists of short-form animated content pieces, that will be assembled fit-for-purpose, for broadcast, narrowcast, social, online and mobile, digital out of home, augmented reality and interactive print applications.
Character Design, Digital Art, Animation,
HERE select frames
A selection of frames from HERE a tappable story created using Tapestry
Digital Art, Storyboarding, Writing
Canberra Labor Club TVCs
TVCs to advertise one of the biggest prizes in Canberra history.
Advertising, Branding, Writing