“I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.”
Grant Hadwin
Domicide is the act of destroying one’s own home. It can also be a tendency, carried out through the repetition of thousands of hidden actions, mostly out of sight and out of mind.
I’ve been wanting to write a post on this subject for a while, but have been holding back, waiting for a triggering moment. And last Wednesday that moment arrived when the Sycamore Gap came crashing into the cosy living room of our collective imagination.
The loss of a beautiful lone tree fuelled a predictable outcry. The media fuelled the outrage, baying for the punishment of some ‘degenerate youth’, before pivoting to turn with less outrage on a ‘crazy old man’, perhaps a ‘former lumberjack’.
What is it about one tree that causes us such outspoken agonies while the destruction of the wider world continues unabated with passive acceptance? Could this have something to do with the power of the totem, working as symbolic pressure valve to channel and dissipate our collective sense of grief and loss at the destruction of our home, releasing our outrage so we can return to business as usual?
When I heard the news, my first thought was not for the tree but for the person who had chopped it down. What could have been their motivation? For this must have been a carefully planned act, and so can’t be easily dismissed as some moment of ‘madness’. No, to me, this felt like a howl of pain, a wake-up call that I recognised immediately.
In 2007 I started a 7-year filmed investigation into the motivations of another ‘environmental terrorist’, who orchestrated another attack on an ancient tree in an apparently mindless ‘crime against nature’. But it was not that simple.
On the islands of Haida Gwaii, a remote archipelago off Canada’s Pacific coast, stood a giant and genetically unique Sitka Spruce, known to the indigenous Haida people as ‘K’iid K’iyass’. Owing to the unusual yellow pigmentation of its needles, outsiders called it ‘The Golden Spruce’.
There it stood on the banks of the Yakoun River for 250 years, protected from the enveloping tide of industrial logging in its own protected reserve, complete with tourist trail and signage. Until one night in January 1997, when a lone former logger and timber engineer called Grant Hadwin arrived under the cover of darkness to cut it down.
For the Haida, ‘The Golden Spruce’ was much more than an object of scientific curiosity, a beautiful ‘freak’ of nature. For them this was a mythical being, a boy transformed into a tree, a sacred elder that stood as a wonderous manifestation of the connectedness of all things- a kin-centric belief system.
And Grant Hadwin, himself an instrument of the system of industrial extraction, had come to destroy it in a self-proclaimed act of protest. What kind of madness was this?
This is an extract from the letter that Grant wrote to the authorities justifying his actions:
“Dear Sir or Madam,
I don’t care much for ‘freaks’ whether they teach in University classrooms, sit in corporate board rooms, perform in the circus or are put on display as examples of old growth forest.
I mean this action to be an expression of my rage and hatred towards university trained professionals and their supporters whose ideas, ethics, denials, part truths and attitudes appear to be responsible for most of the abominations done towards life on this planet made in the name of ‘progress’.
I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.
It was challenging to leave this majestic plant in a temporary vertical position.
The next storm will cause this one thousand year old plant to fall into or near The Yakoun River. Please find enclosed some of the last known photographs of ‘The Golden Spruce’.
Yours truly,
Grant Hadwin.”
And this was my film interpretation of the aftermath of what had happened.
What insight might this story give us into the mind of the individual who took down our cherished Sycamore?
And what does this particular choice of totem, the lone tree left standing in a sea of devastation, tell us about the timeless forces of corruption at work on humanity, and about our separation from the land, our natural home?
The Golden Spruce came with its own ancient mythology, with a story that began with the murderous arrival of the Europeans in 1774. The British came bearing ‘gifts’ of blankets laced with smallpox, hoping to wipe the indigenous people from the face of their land. 70% of the Haida population died in the enveloping plague, with lone survivors retreating into the sanctuary of the forest. Among them were a village elder and his grandson. As they fled the village, the boy ignored his grandfather’s advice not to look back, and found himself rooted to the ground, a boy transforming into a tree.
And there K’iid K’iyass stood for 250 years, one tree preserved by the logging company as a living cultural artefact, while the rest of the ancient forest was cut down and hauled to the mill, first as masts for ships of war, and then to build the frames of aircraft that brought death from the skies.
And the Sycamore Gap bears the same legacy. A lone tree, left in a sea of devastation, the land wiped clean by the civilising forces of Rome as far as the wall of Hadrian, built to keep out the savages who still lived from the land and who resisted agriculture, taxation and wage slavery. The wall was there to keep the money economy of Rome safe and sound until the empire burned under Nero, incinerated by the flames of its own self-serving corruption and arrogance.
#Storytelling #Filmmaking #Authenticity #Purpose #Meaning #FilmsToBelieveIn #DocumentaryFilmmaking #FilmProductionBristol #BristolFilmmakers #DocumentaryFilmmakerBristol
We are today announcing that after 13 years at Bristol Creative Industries, Chris Thurling is handing over the reins as chair.
Since joining the organisation in 2010, when we were called Bristol Media, Chris has been hugely instrumental in our growth and success. That includes our rebrand, building the membership, growing our visibility and launching the groundbreaking Bristol Creative Industries Internships Programme.
Taking over from Chris as co-chairs are AMBITIOUS co-founder Lis Anderson and former Aardman executive producer Heather Wright.
As Chris hands over the role, he speaks to Dan Martin about his time at the organisation, its greatest successes and the future of the creative industries in Bristol and beyond.
“In 2010 I was the founder and managing director of a digital web design agency called 3Sixty. I was approached by Paul Appleby who was running Bristol Media with Mike Bennett. Mike was stepping down to do other things and they were looking for someone to join the board who could represent the growing digital sector in Bristol. I thought it was interesting and I signed up.”
“Bristol Media was still new when I joined. It got going with some public funding, but that stopped in 2009 and the organisation moved to a membership model to fund it.
“One of the main things I’ve seen during my time is the membership model embedding itself and the organisation becoming fully self funded and not reliant on any public money or major sponsorship.
“It has survived through the membership fees which is a pretty good achievement for an organisation like BCI. That has given it credibility and autonomy. BCI exists because of its members and the only agenda is the members who support it, and not that of another organisation that is funding it.
“It has matured as an organisation to figure out what it does and what it doesn’t do. Back in the day it was pulled in lots of different directions. There were lots of people wanting Bristol Media to fit their agenda, but over time it has grown in confidence to focus on the things that it does well, not be unrealistic about what it can achieve and not be too thinly spread.”
“We had feedback that the term ‘media’ wasn’t really the collective noun that properly described the sector that we represent. Back in the early noughties, ‘media’ might have been the right word, but over time the term ‘creative industries’ gained traction and became the common parlance.
“It seemed sensible to align ourselves with the terminology that everyone was using, so it’s clear who we are and what we represent. That was one of the first things I decided we needed to do when I took over as chair. Looking back, it has been successful.”
“It is an achievement that the organisation has been financially stable and self-sustaining, even during the pandemic. That has enabled us to continue to serve members and grow the BCI team.
“Another big achievement is the new BCI board, which we appointed following the rebrand in 2021. Our focus was to have a new team of directors to help us Bristol’s creative industry in nurturing and attracting talent, connecting and growing their businesses.
“We recognised the need for our board to better reflect the diversity of talent in the city. We need individuals who can bring different perspectives and experiences and help us widen our reach across the region. An example of that is Bristol designer Marissa Lewis-Peart who we appointed to the board. In 2019, Marissa won the Ben Martin Apprentice Award in collaboration with Bristol Creative Industries.
“We introduced a new always on event schedule led by Sian Pitman, the new full time events manager we employed last year. Rather than the main focus being on the two day Vision conference that we used to run, the events are now spread out across every month in the year. This means there is something for everyone in terms of topics and price range, with some free options for people to access, particularly if they’re members.
“That has been a big success and it has made BCI a lot more visible, because there’s always something happening.
“We also introduced new formats which are tied into our mission of connecting people. These include the member lunches and Walk and Talk events. They are good ways for members to connect with each other, easy to access and something no-one else is really doing for our community.
“The social media activity, newsletter and content has been transformed in the last few years. We produce a lot of really helpful and useful content for our members.
“Finally, the Bristol Creative Industries Internship Programme is the activity I’m most proud of.
“It started with the SXSW Apprentice and Ben Martin Apprentice Award, before evolving into the scheme that is running today.
“It will continue to grow and if BCI has been in any way instrumental in transforming the lives of young people who wouldn’t have had the opportunity without us, then that has got to be the biggest success.
“On diversity, so many organisations talk a good game, send all the right tweets and have all the right badges on their website, but to actually shift the dial, you need to invest proper resources and get expertise behind it.
“We’ve had rhetorical commitment for years, but BCI is now putting its money where its mouth by setting up the programme led by the full-time programme manager, Clare Leczycki.
“BCI is showing leadership in the community, which only an organisation like BCI can do because we are not commercial or competing with anyone else. We’re there to serve the interests of the membership.”
“Lis and Heather’s new roles as co-chairs marks an exciting new chapter for BCI. Having both served on the board and run successful creative businesses, they are experienced hands and well equipped to build on the successes that BCI has achieved to date. They have been key to the internships programme, getting insights on members’ key challenges and connecting them to available funding.
“BCI can continue to take a leadership role in the development and attracting of young talent into the industry in the longer term, making sure there’s a pipeline of fantastic people wanting to come into the industry in Bristol and opening it up to people from all backgrounds and the places that historically haven’t had a look in.
“BCI can also help our industry build firmer commercial organisations. A lot of creative companies are quite hand to mouth and not necessarily great at realising the value of the amazing work that they do because often they are businesses set up by creative rather than commercial people. As times get tougher, creative businesses need more sustainable business models, and not just charging by the hour but finding a way to charge more by the value that they deliver.
“Connected to that is access to finance and financial advice which small businesses often don’t have internally. A collective organisation like BCI can pool organisations together to help.
“The UK does still have a reputation internationally for the creative industries, and as the UK market gets more challenging and competitive, our industry needs to look beyond these shores for opportunities for growth.
“Finally, we need to guard against complacency and any inertia that we have in thinking that Bristol’s an incredibly successful city and we can roll along and it’s all going to take care of itself.
“We need to understand that there are a lot of other cities hungry to eat your lunch. We’re in a good place, but we can’t assume we will be in 20 or 30 years time. We need to make sure that what happened to the first generation of industries in the UK doesn’t happen to the current generation through complacency and taking things for granted. That’s where an organisation like BCI can take a leadership role in pushing innovation.”
“Consistency of messages is important. The government blows hot and cold on the creative industries. Sometimes they get mixed up in the ‘culture wars’ and think that’s it not a real and important sector.
“In schools, it’s all about science, technology, education, engineering and maths, but the arts subjects are struggling and not getting the support that they need both financially and rhetorically from the government. There’s a sense that they’re not seen as real and proper subjects.
“The government needs to buy into the fact that the creative industries is one of the UK’s strongest advantages in the world and we need to be championing and banging the drum from the top down.
“I think that the government needs to find a way to undo the damaging effects of Brexit on our sector. It has had a huge supply of talent cut off by the ending of freedom of movement, which many BCI members used to find incredibly valuable.
“Schools need to be better connected with the creative industries and it needs to happen at an earlier stage with younger children. As a school governor myself, I think that the employability side of schools is still out of date. The kind of jobs that they know about and the kind of connections that schools have with industry is pretty old fashioned. There’s an ignorance of the myriad of jobs in the creative industries that people can do.”
“If you’re a supporter of the Bristol region and the creative ecosystem, joining Bristol Creative Industries is doing your bit.
“Check out what is available from BCI. The membership offers huge value for money. There’s lots you can get out of it including jobs advertising, coming to events, publishing your content on the website, and participating in the social media activity and using it to raise your profile.
“You will definitely meet great people. There are lots of fantastic people who are part of the network. You never know how they might be able to help you and your business.
“If people stop supporting BCI, it will go. If it didn’t exist, people would want to invent it. It’s a valuable thing that has taken the best part of two decades to build. It’s a fantastic asset for the city and the region. BCI is part of the jigsaw puzzle that makes up what’s good about the region.
“Alli Nicholas, who has been at BCI for 10 years, is the go-to person for all things membership so do speak to her if you have any questions.”
Both the prevalence and effectiveness of video marketing have been on the rise since 2015. According to Wyzowl’s State of Video Marketing Survey 2023– 92% of marketers reported a positive ROI from video content.
So creating videos that are consistent with your brand and look professional is very important for marketers. But, without your own in-house production team, this can prove challenging – and expensive.
Usually businesses choose to outsource video editing – bringing in the big guns (like the P+S Video and Motion Graphics team) to craft something on-brief and on-budget, before smashing it into the stratosphere.
However, we understand that sometimes you just want to do it yourself, whether it’s a quick interview-style vid, a vlog, or a simple success story. So, how do you make it look consistent with the rest of your brand, without breaking the bank?
Fully customised to your brand (or sub-brand) specification, our Video Toolkits are the easiest way to produce brilliant content on a tight deadline or budget. Not only will your content look great, but you’ll also significantly reduce the cost of producing further content.
The toolkit includes a variety of custom-made assets, each designed to suit the type of content you’re producing. So whether it’s interviews, self-shot ‘talking to camera’ vids, or even event and webinar footage, you can use the toolkit with minimal knowledge of Adobe After Effects or Premiere Pro to insert and customise your brand elements.
But it’s probably better to show than tell, right?
In the following short videos, we’ve broken down the elements that can be included in the toolkit package. This example was produced for Thrio – one of our fantastic clients – using their brand colours, fonts and adhering to their motion guidelines.
Not all of the assets featured may be required in your toolkit, and equally this isn’t the extent of what we can produce for you – it’s all dependent on the style/purpose of video content you’re likely to need in the future. We’ll make something bespoke and fit for purpose.
Logo sting for intro and transition
Custom-made animation of your logo for the start of your video.
Watch video here.
Lower-third caption
An easily updated lower-third caption that can feature speaker name, job title and company name.
Watch video here.
Divider screen title
Custom-made title slide animation with easily editable text and optional imagery.
Watch video 1 here.
Watch video 2 here.
Subtitles
Perfectly legible subtitles in your brand font, ready for editing. You’ll also notice the ‘bug’ in the top right of this example – a semi-transparent logo overlay that features in the top corner of your video.
Watch the video here.
Quote screen
Have a question, quote or fact worth highlighting? Showing it on screen will really anchor it in the viewer’s mind.
Watch the video here.
Social links
A custom scene for just before the end of the video that features your social handles for quick reference.
Watch the video here.
Transition and logo sting outro
Custom-made animation of your logo to feature at the end of your video.
Watch the video here.
So, how does this all look together? Here are a few example toolkits for you to check out:
Watch video 1 here.
Watch video 2 here.
Whatever story you want to tell, we’ll help you share it with the world, on-brand and within budget. Talk to Proctors today.
Mentor Digital has successfully completed a major contract to design and develop a cutting-edge CMS and website to effectively assist NGA’s vast community of 75,000 members. This comprehensive project encompasses a fresh information architecture and website design, accompanied by enhanced user experience (UX) and optimised user journeys throughout the site.
The primary objective was to ensure an exceptional experience for members throughout the site as well as encouraging membership renewal and the utilisation of the wide array of excellent services provided by NGA.
The website was designed by Mentor’s award-winning creative team, and includes immaculate attention to detail throughout the site, incorporating micro-animations and a seamless user experience. The site includes a complex tagging, search and filtering system which is all powered by the CMS (Umbraco V10).
In addition to developing the new website, Mentor Digital completely re-branded NGA, including a new logo, brand guidelines, and on and offline materials, all whilst creating a visual identity that effectively embodies their distinctive approach. To gain valuable insights, Mentor conducted a series of interviews with key members of NGA, as well as the board members, to gauge their perspectives on the existing branding and the envisioned direction.
Additionally, Mentor organised workshops with the project team, to assess their current standing and identify their desired future positioning. These collaborative sessions served as the foundation for generating multiple concepts to further evolve the new brand.
Click here to view a case study on the NGA re-brand.
Collaborating closely with NGA, Mentor Digital facilitated the commissioning of copywriting services to enhance the communication of their core brand and services. NGA were presented with a range of options for descriptors, statements, and straplines for the main NGA brand to aid the launch of a more confident brand positioning.
If your organisation is looking for a digital agency to work on a new or existing project, you get in touch with the team at Mentor Digital, who would love to hear about your plans.
To see more of Mentor Digital’s case studies, you can visit the website here.
To find out more about Mentor Digital’s web design and development work for Membership Organisations, click here.
We’re excited to share that we will be supporting Caring in Bristol, as part of Studio Every‘s pledge of two weeks to two charities this year.
Caring in Bristol work in imaginative and creative ways with people experiencing or at risk of homelessness, with the public and community partners to bring about lasting change in Bristol and beyond.
We will be working with Caring in Bristol to explore ways that they can expand their corporate partnerships to create even more sustainable income for the future.
We look forward to contributing to the future strategy of this incredible charity, to help prevent homelessness.
Q: What do the geographically and culturally diverse locations of Ormskirk, London, Aberystwyth, Folkestone, and Cambridge have in common?
A: they are all locations where Ralph provided Graphic Recording, on Paper, with Pens this summer!
Why the change in style? Well, actually I haven’t changed tack!
Indeed, I’m as busy as ever producing Live illustration on iPad and Visual Story Telling and Information Graphics digitally.
Rather, drawing on my graphic wall (display boards) with pens and paper is a development of my services to meet the demand for visual sense-making and engagement, in person.
Through creating large-scale visual records in real-time (my boards can take up half a room!) I have become the catalyst for bringing back that dynamic element of brand theatre and human touch to your events, conferences, and meetings that got so lost in virtual and hybrid delivery modes.
How have your organisation’s outcomes, goals, priorities, and vision changed in a world defined by greater volatility, uncertainty, complexity, and ambiguity?
Whether through pens or stylus, as collective reflection, sense-making, and summary, Graphic Recording is at its core a deep listening service.
Its power is that it allows for both different voices and the whole to emerge, with the ability to shape how the conversation changes and unfolds.
As an enquiry tool it both documents and harvests this exploration, providing a visual roadmap of the way forwards.
My Graphic Recording reignites creativity at events, supercharging the moment with that spark of curiosity that creates surprise, builds expectation, and brings engagement.
And, judging by the number of photos that people take on their phones of my work to share online, they also continue to value how it provides impact for remembering key moments and reflecting on what has taken place. Indeed, clients takeaway my paper artwork roll as both an in-house reference tool to drive change and as an office wall display product.
This demand for analogue Graphic Recording further proves how deeper-level thinking can be activated through my injection of big, bold, and colourful artwork in the room. By visually grabbing people’s attention it enables creative thinking and change to flourish.
As we look ahead to the next business quarter of the year how will you make visual communication an integral part of your event to open hearts and move minds to bring the transformation you need in your workplace?
Ralph Mann, Purple Heron Communications. August 2023
Savvy art buyers get the chance to snap up bargain artworks and join in the fun as the RWA’s Secret Postcard Auction returns.
Following the huge success of the 2022 Secret Postcard Auction, the event will run online from 28 October to 9 November, with a physical display of the artworks on show at the RWA from 4-9 November.
An unmissable event in the RWA annual calendar, and a major fundraiser for us as an independent charity, the Secret Postcard Auction offers you the opportunity to make the winning bid on original artworks by famous, or soon-to-be-famous, artists!
As the name suggests, all the artworks are postcard size – albeit a large postcard, at approximately 14 x 19cm cm (5½” x 7½”). The postcards can be viewed, and bids can be placed on our 32 Auction site. It’s great fun and bidding can get fierce but there’s plenty of opportunity to grab a wonderful original work of art for as little as £40!
This year, as well as being online, you’ll have the opportunity to get a closer look at the postcards while they’re on display in the Youngwood Room at the RWA from 4 – 9 November.
Last year’s postcards included works by Sir Frank Bowling RA, Eileen Cooper RA, Maggie Hambling, David Remfry RA to name just a few. This year’s entries have started to roll in and we can already confirm contributions from Jeremy Deller, Anne Desmet RA, Simon Drew, Gilbert and George RA, Kurt Jackson RWA, Andrew Lanyon, Sir Richard Long RA RWA, Mali Morris RA, Cathie Pilkington RA and Bob & Roberta Smith RA, with many more to be revealed.
All of the contributing artists are named, but the identity of who did which artwork is anonymous until the auction has closed.
Bidding opens for the public on 28 October and will close at 10pm on 9 November 2023.
Since its re-opening last year, the RWA has welcomed more visitors to its building than at any time in its history and brought life-enhancing creativity to people who’ve never had that opportunity before, but we can only continue to do this with your help.
As an independent charity with less than 1% of costs covered from the public purse each year, we rely on our fundraising efforts to keep the doors open and run our outreach programme, engaging people in some of Bristol’s most under-represented communities. The money raised by the Secret Postcard Auction is a vital contributor to our finances. Last year we were blown away by the support, as donations reached over £70,000, while bidders still walked away with incredible bargains.
Keep an eye on the RWA website for details, and GOOD LUCK with your bidding!
secretpostcard.org.uk
The Southwest’s biggest Annual Open Exhibition returns for 170th year
The RWA (Royal West of England Academy) is delighted to announce the return of its renowned Annual Open Exhibition for the 170th year, running for an extended period, from 9 September 2023 to 14 January 2024.
This dynamic and varied exhibition features painting, drawing, printmaking, photography, sculpture, and mixed media submissions and is a showcase of some of the most exciting artists from across the country and beyond.
Amongst this year’s selection panel were invited artist Charmaine Watkins; President of the RWA Fiona Robinson; artist and Rabley Gallery director Meryl Ainslie, and Academicians Dallas Collins VPRWA, Lucy Austin RWA, Angel Lizon RWA and Karl Singporewala RWA. They assessed every artwork on its own merits, anonymously, before being able to bring down the 4000+ entries to just over 400. No mean task when the standard of work submitted was so high!
Alison Bevan, RWA Director, says: “This year above all others, we have been quite overwhelmed by the variety and standard of artworks submitted by every kind of artist, from long-established veterans to fresh new talent just finding its artistic voice. No matter what kind of art you enjoy, we can promise every visitor will find lots to love!”
The Annual Open reflects the RWA’s ongoing commitment to championing world-class art in the region and creating opportunities for new and emerging talent. It includes in excess of £10,000 in prize money, including the £5000 Academy Prize and a £4000 Other Art Prize.
All the original artwork on display is for sale not only in the galleries, but also online, with prices starting at less than you’d pay for a furniture-shop print. Buying art helps support both the artists and the RWA, which is a completely independent charity (1070163) delivering life-enhancing creative opportunities for young people and adults across Bristol.
Tickets to the Annual Open Exhibtion are £8.90 (concessions available), or for just £15 you can buy an RWA Art Pass, which allows unlimited access to all our ticketed exhibitions as many times as you like for a whole year. https://www.rwa.org.uk
On August 1st, Park Street based agency Dirty Design unveiled their rebrand. Timed to coincide with the 20th anniversary of the company’s founding by Charlotte Hockey-Berry in 2003, the new look is a huge development from the previous creampuff logo and signature Pantone 806 pink.
After a tumultuous few years which saw the unexpected loss of their founder, the Dirty Design team felt it was time to take stock and find a way to mark the progression of the company and acknowledge this new chapter, while still paying tribute to their roots.
The fresh identity expands on the existing colour palette with the addition of primary and secondary shades, which are paired with a bespoke font and set of unique and fun illustrations. The new Dirty Design logo is said to “reflect who we are as a company today; it’s personal, flexible and friendly”.
“After many years of putting our own visual identity on hold, we finally decided to practise what we preach and give ourselves a long overdue refresh. We pride ourselves on being a friendly and approachable agency, and our aim was to show that in our new look. It’s been great fun working on this with the other designers and collaborating with the whole team, to develop a style that suits who we are now and the company that Charlotte started 20 years ago.”
– Steve Harris, Head of Design
The rebrand marks an exciting time for the agency, who this year are expanding their work within the charity sector, including producing all design assets for this years YoungMinds #HelloYellow campaign, supporting national children’s charity Barnardo’s in design for various campaigns, and creating a fresh look and feel for the Motability Foundation’s direct mailer pack.
“I’m so proud of the whole team. Our new Dirty look is simply fabulous, and although light years away from the original it still portrays what we’re all about; a creative and fun bunch – and of course it’s still very pink! I’m so excited to see what the future holds and for us to continue to do what we do best, produce stunning designs and provide outstanding account management – to work with and support our incredible clients.”
– Lucia Boccacci, Managing Director
You can see the full rebrand in action at Dirty Design’s website; dirtydesign.co.uk. You can also watch their 2023 showreel below:
Cameron Balloons, a renowned leader in the hot air balloon industry, is proud to announce the launch of their groundbreaking app, Sky Sketcher. This innovative web application empowers users to unleash their creativity and design their very own personalised hot air balloons, revolutionising the way enthusiasts engage with the art of ballooning.
With Sky Sketcher, users can embark on a unique and immersive journey, where they have the freedom to customise every aspect of their hot air balloon envelope. From selecting colours, materials, and artwork to exploring different balloon models, the app offers an unparalleled level of customisation and personalisation.
One of our primary goals at Cameron Balloons is to make hot air ballooning an accessible and interactive experience for everyone,” said Will Offer, Senior Designer of Cameron Balloons. “SkySketcher represents a significant leap forward in achieving that vision. We wanted to provide a platform that allows individuals to turn their imagination into reality and design a hot air balloon that truly reflects their personality and style.”
The features of SkySketcher are designed with user-friendly functionality in mind. The app provides an intuitive interface, ensuring that even those new to ballooning can effortlessly navigate and create their dream aircraft. Users can experiment with colours and patterns, incorporate their own artwork, and find the perfect looks effortlessly.
SkySketcher allows users to visualise their creation in 3D. Adding this extra dimension provides users with a sneak peek into what their custom hot air balloon will look like floating high up in the sky.
“We are thrilled to introduce Sky Sketcher as a game-changer in the ballooning community,” added Offer. “It’s an app that encourages creativity, fosters self-expression, and allows users to engage with the world of hot air balloons like never before. We want to inspire a new generation of balloon enthusiasts!”
SkySketcher by Cameron Balloons is now available, bringing the joy of designing custom hot air balloons to the fingertips of users worldwide. To learn more about the app and start designing your dream balloon, visit https://www.cameronballoons.co.uk/skysketcher or follow Cameron Balloons on instagram or Facebook.
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