[From the Creative Scene in the Netherlands Vol. 7] Brands are entering an era where they design even the "movement" | Studio Dumbar/DEPT® (Rotterdam)

What is Studio Dumbar/DEPT®?

Studio Dumbar is a design studio founded in The Hague in 1977 and now based in Rotterdam. Since 2016, it has been a member of DEPT®. Led by Liza Enebis and Wouter Dirks, it is one of the first studios in Europe to incorporate motion design.

Working with a wide range of clients, including government agencies, railways, music festivals, and globally renowned IT companies, we have expanded our scope to include motion and creative coding, gaining international recognition for our dynamic designs.

SHIFTBRAIN's motion designers' top picks for Dumbar case studies

Case Study 1: DEMO 2025 (Design in Motion Festival)

DEMO is one of the world's largest motion design festivals, held at digital signage venues around the globe. Organized and run by Studio Dumbar, it annually accepts submissions from creators worldwide.

This festival evolved from the "Cities in Motion" project, which used digital signage in train stations to display motion content different from advertisements, providing people with a new experience. This initiative to explore the possibilities of motion design in public spaces has eventually evolved into one of the world's largest motion design festivals, showcasing works by creators from around the globe.

What was particularly impressive was the idea that "motion isn't just something that exists on a screen." They're transforming digital signage in public spaces like train stations and on the streets into exhibition spaces, creating a system where people can naturally encounter motion design in their daily lives.

Furthermore, by updating the brand identity every year while maintaining commonalities in typography, motion, and layout, we have achieved a consistent brand identity.

From this project, I learned that brand identity can be designed not as a "static graphic," but as "something to be experienced over time." I felt that this project, which views public space itself as a medium and presents new possibilities for motion design, is symbolic of Studio Dumbar.

Case Study 2: OpenAI Brand Film

The OpenAI Brand Film is a video created to introduce OpenAI's newly refreshed brand identity. The new identity was designed to express OpenAI's mission, "Artificial General Intelligence (AGI) will benefit all of humanity," in a simpler and more approachable way. AGI refers to AI that can perform a wide range of intellectual tasks like a human.

What was particularly impressive was that the goal wasn't to create a video that simply explained the brand, but rather a video that allowed viewers to experience it. The use of white space in the layout, the slightly imperfect animation, and the vibrant visuals all contribute to expressing OpenAI's approachable and open brand personality.

Furthermore, the sound design is inspired by natural human communication, with sounds layered in sync with the animation, and each element of the brand system, such as the logo, typography, and UI, appears in sequence. By combining each element into a single video, the overall structure allows for an intuitive understanding of the OpenAI brand.

This case study taught us that a brand is not just about logos and colors; by designing it as an "experience" that includes motion and sound, the brand's philosophy and individuality can be conveyed more naturally.

Case Study 3: North Sea Jazz

North Sea Jazz is one of the world's largest jazz festivals. Reflecting the festival's evolving nature, Studio Dumbar designed a new brand identity that can express a diverse program encompassing not only jazz, but also fusion, hip hop, world music, and R&B.

What was particularly impressive was how the brand was designed with rhythm and movement at its core, starting with motion design. The energy unique to live performances is expressed through typography, color, and motion, creating a brand system that can flexibly adapt to diverse performers and genres.

Furthermore, Studio Dumbar has developed a custom tool for generating brand identity. By utilizing this tool, it is possible to efficiently generate visuals tailored to various media, such as posters, websites, venue signage, and videos, while building a dynamic brand identity.

This project taught me that brand identity can be designed not as a fixed design, but as a "system" that grows while flexibly adapting to ever-changing content and media. I was also impressed by the way they integrated motion design and system design to realize a new approach to continuously evolving the brand.

Studio Dumbar/DEPT®'s manufacturing process

We spoke with two people for this interview: Creative Director Liza and Operations Director Wouter.

Motion is a crucial element in what makes up a brand.

What prompted Dumbar to seriously begin working on motion branding?

Until about 10 years ago, brand identity was primarily represented by printed materials such as brochures, business cards, and magazines. However, brand interaction has shifted to digital platforms like websites and social media, and experiencing brands on screen has become commonplace.

The screen offers expressions of "movement" and "sound" that printed materials lack. That's why we believe motion and sound are just as important elements in creating a brand as logos, colors, and typography.

Of course, it wasn't just one person who decided to "shift to motion." We're not a highly hierarchical organization; we have a culture where decisions are made as a team. The entire studio sensed the changing environment surrounding the brand, and as a result, we naturally began to focus on motion.

Subsequently, the COVID-19 pandemic dramatically increased the amount of time people spent interacting with brands online. The changes we had already noticed accelerated rapidly, and motion design came to be recognized not as something "nice to have," but as a crucial element supporting the brand experience.

Currently, we design motion guidelines for many projects. What we value most is not just the motion itself, but its consistency with the entire brand.

For example, if a brand has a strong and vibrant color system, its motion must also reflect that worldview. Just like color and typography, we believe that motion is one of the design elements that conveys "what makes a brand unique."

New value must be proven by ourselves.

What did you do to help the client understand the value of motion?

New value is difficult to convey through words alone. Therefore, for about a year, we worked on a project to demonstrate how the brand experience changes when motion is added.

At the same time, we established a motion lab within the company to create an environment where designers can learn from each other. This is because we believe it's important for the entire studio, including visual designers, to understand motion, rather than just having motion designers possess the knowledge.

Furthermore, in order to convey the value of motion design itself to society, we launched "DEMO," a motion festival that turns the entire city into an exhibition venue.

When proposing to clients, we don't just explain that "motion is important." We make it a point to let them experience firsthand how motion creates the brand experience, using well-known brands as examples.

For example, think of the Netflix opening sequence. Just a few movements and sounds are enough for many people to immediately think of Netflix. That's the kind of brand experience we're aiming for. Motion and sound aren't just for show; they're crucial design elements for making your brand memorable.

Ideas come from the team, not from job titles.

What kind of organizational structure is being used to manage the project?

Unlike typical design companies where a director comes up with an idea and the team brings it to life, we don't operate that way. Everyone—seniors, juniors, and interns alike—contributes ideas, and we nurture the best one from among them.

The lead designer is responsible for the overall quality and presentation of the project, but they are not someone who "turns their own ideas into reality." At the idea generation stage, they are simply a member of the team.

We don't believe that creativity is automatically enhanced by long experience. Of course, experience increases the speed of decision-making and refines the approach to creation. But creativity is something everyone possesses. That's why we value an environment where everyone can speak up equally, regardless of their position or years of experience.

Project management is, simply put, an "endless puzzle." Delays and additional requests are commonplace, and it's actually rare for things to go according to plan. Each time, we have to adjust the team structure and schedule, rebuilding the optimal system.

Our studio has 40 members and 4 project managers. In addition to bi-weekly regular meetings, we communicate daily to coordinate resources. However, we do not create schedules that assume overtime. We also respect each designer's working style and values.

For us, quality is paramount. If we determine that we cannot maintain quality, we will not force ourselves to accept the project and may even ask the client to postpone it. Prioritizing the creation of high-quality work is a value shared throughout the entire studio.

Voices of the visiting members

Kin (Motion Designer)

Studio Dumbar's office was located in a corner of DEPT's open space, and the team worked together in a consistently friendly and harmonious atmosphere.

What particularly impressed me during the interview was their foresight in recognizing that media will shift to digital in the coming era. They didn't simply view motion design as a means of expression, but rather engaged in team building that explored "what motion is" by involving people from other professions besides designers. This attitude made me realize why Studio Dumbar is called a pioneer in motion identity.

During the interview, they also asked me, "We'd like to hold the DEMO Festival in Tokyo next year, but do you know anyone who could help us connect us?" So, it was a great honor for me to be able to introduce them to the NEORT team for the Tokyo edition of DEMO Festival 2027.

Ishizuka (Art Director / Designer)

Back when Dumbar was working on projects like TRANSAVIA and VBMS, it wasn't the leading motion design studio it is today. However, it has since established a unique presence in the field of motion design, and it was an invaluable opportunity to hear firsthand how they built their current position.

Behind this success lies their unwavering dedication to consistently producing outstanding creativity while quickly adapting to changing times. I was deeply inspired by their approach, and this interview was incredibly insightful, reminding me that both SHIFTBRAIN and I, as a creator, still have much to learn and practice.

Okada (Producer)

I believe Studio Dumbar is truly a pioneer in motion branding.

What was particularly impressive, however, was that they hadn't explicitly stated "motion branding" as their focus from the beginning. It was during the COVID-19 pandemic that they decided to focus on motion branding and invested heavily in it. I thought their decision-making and proactive approach were truly remarkable.

To establish a new position, you need not only words but also results to prove them. And these results don't just accumulate naturally; you need to intentionally create outputs that function as sales tools. I heard that Studio Dumbar has been investing in this for about a year, and it really reinforced for me the importance of setting a plan and then executing it without hesitation.

I believe this is something that Japanese companies and agencies, including ourselves, should learn from. To establish a position in a new field, you first need to believe in its potential, invest time and resources, and turn it into tangible results. From Studio Dumbar's efforts, I strongly felt the importance of not just proposing a new field, but also the determination and execution power to turn it into one's strength.

Tsuboi (Project Manager)

As a project manager, what particularly stuck with me was the phrase, "Resource management is an endless puzzle." Projects rarely proceed as planned, with sudden additional requests from clients or schedule delays. Hearing about how they constantly have to think about how to adjust each time, I couldn't help but empathize, thinking, "It's the same at every production company."

Furthermore, I learned that adopting motion branding requires not only hiring designers, but also establishing a shared understanding within the company, communicating and delivering value to clients, and creating a system to maintain quality.

Conclusion

Through this visit, I was reminded once again that motion is not merely a performance element, but a "design language" that conveys a brand's individuality and worldview.

At SHIFTBRAIN, we are currently working on establishing a motion design system. That's why this discussion was a valuable opportunity for us to gain many insights, including how to think as a team, how to make proposals, and how to create a culture of mutual learning within the company.

We will apply what we've learned to future projects, and we aim to become a team that can consistently propose motion designs that enrich the brand experience, from planning and design to implementation.

Next time will be the series finale. Stay tuned!