[music] [Lindsay Morris] Hello, everyone. Thank you so much for joining us. We hope you're having a great first official day of Adobe MAX. Yes, yes, yes!
I'm Lindsay Morris. I'm a Senior Strategic Development Manager at Adobe. One of my favorite parts about my role is I get to collaborate with some of our biggest customers. I get to learn from them and also partner with them to tell their brand stories. And I am so thrilled to be here with Jamie Dunn, VP of Packaging at Mattel. We can clap. We can clap. Yes.
So Jamie will introduce himself in just a minute. I just want to say first, from working with Jamie and from collaborating with him, I am just so inspired by his creative expertise. The scale of the work that he and his team produces is remarkable. And also his playfulness and his curiosity that he brings into his work. We both really believe that play and curiosity and imagination is just so important in any creative endeavor. And of course, this is also important in the business of toys. This is especially important.
And then on a personal note, I have a five-year-old and a two-year-old at home, and so I've been spending way more time in the toy aisle than ever before. And when I told my 5-year-old that I was going to be coming here and I was going to be talking to someone that packages a lot of toys, her eyes got really big, and she was like, "Mom!, You work with Santa Claus?" It's true. And I said, yes. - No, we have big shoes to fill, Jamie. - [Jamie Dunn] Belly. Working on it. Yes. Thank you for bringing the Hot Wheels. - I have two in my purse. - Alright.
Anyway, thank you again so much for joining us. And I will hand it over to Jamie to introduce himself.
Thank you, Lindsay. I am Jamie Dunn. I am the VP of Packaging and E-Commerce Creative at Mattel and this has been an incredible process. I've really enjoyed working with you, Lindsay. This is the mutual admiration society. I've loved working on this presentation with you and I cannot wait to share the work and represent the great work that my team does. It was really exciting seeing you all walk in and see the toys on the, you know, on the chair. Really just, you know, nostalgia, childhood memories, finding your favorite car, swapping out, it was like, we all become kids as soon as we see toys in front of us. So I'm really excited to be here. The feeling is totally mutual. I know, I was seeing some swaps also, - and I was like, yes, yes. - Trades. Okay. So this session is all about amplifying creativity. It's about content at scale. It's also about bringing play into your work. And we're going to bring Jamie's experience as VP of Packaging at Mattel into the forefront. And we're going to unpack how his creative team packages their creative products and connects with their vast audience. So here's what we're going to explore. What it takes to leverage brand equity and unlock your creative team's full potential. And so by that, we're talking about maintaining brand identity and creative integrity across all of your brands. Because when you have this, like Mattel does, you can actually push your creative boundaries and drive differentiation. We're going to see some examples of that.
Also, how to build processes and streamline collaboration for peak creativity at scale. So you might not be working across global markets, thousands of products, thousands of SKUs like Jamie and his team does, or maybe you do, but either way, this is about how we're all being asked to personalize, localize. We're being asked to deliver more assets than ever before. And so we're going to show you how Mattel makes that happen. And then why infusing play and curiosity into your work matters. So for Mattel, it might be obvious, because toys, right, like we know. But it's just so important for all of us to stay connected to what brings creativity and what brings joy. And it's about sparking your own creativity, and then connecting with your audience. So we can't wait to dive into all these topics with all of you. Jamie, I'm going to let you take it away. I can't wait. Thank you, All right, the baton has been passed. So before I take you through some examples and some case studies of what my team works on, I wanted to give a little bit of context around Mattel. Mattel is going to be turning 80 next year, 80th anniversary in 2025. So there's a ton of history and a ton of history baked into Mattel and our iconic brands. We truly are a global company. And my team is certainly no different. There are three offices in North America. We have the Mattel headquarters in El Segundo, California. We have our Fisher Price office in East Aurora, New York. And then our construction arm of the construction toy arm of the company is up in Montreal, Canada. And we also have design and production offices in Asia, throughout Southeast Asia. So in Hong Kong is sort of our Asian headquarters with both design, and production, and development counterparts there, Shenzhen, China, as well as a relatively new office in Haifung, Vietnam. And we have design capabilities and design resources baked into our plants actually. Our owned and operated plants in Jakarta, Indonesia, where we primarily produce fashion dolls. Penang, Malaysia, where there's a diecast car manufacturer. And then Bangkok, Thailand, where there's a combination of various categories, but design and development resources really across the globe. So it's critical, really critical that we all work together and collaborate together to get our jobs done. Drilling a bit more specifically into my team made up of these various disciplines, from copywriters to graphic designers, structural engineers, illustrators, photographers, retouchers and project managers all across the globe and not just in North America. All of those disciplines are represented globally in our various other offices. And then Mattel plays in seven major toy categories in the toy space: from dolls, Barbie, Monster High, Polly Pocket, American Girl, vehicles with brands like, you just saw it, right, as you entered the door, a Hot Wheels, Matchbox. We also have licensed partners with Disney Pixar Cars. And then all the way through action figures, we have Masters of the Universe represented heavily. A lot of licensed partners there with WWE and others. Games, construction, infant toddler and plush. And all of those people and all of those categories make up 4,000 SKUs every single year.
That's a lot. That's a lot. Pause for dramatic effect. That is a lot of projects that my team is essentially responsible for. And that's just the SKUs, that's not the assets, tens and tens of thousands of assets that are associated to each of those, or not each of individual SKU, but all of those SKUs.
And so it's critical that sort of these three things come into play as we design and develop our SKUs throughout the year. And then the other part of this, there's really no off season for us. The toy industry is set up much like the fashion industry. And there's a spring and a fall season, and so centered around kind of gift giving holidays throughout the year. So there's no sort of downtime. We're rolling from one season to the next. We have about an 18 month development cycle from sort of start to shelf. So we're always on, we're always moving. And so collaboration across not just my team and the various disciplines and groups within my organization, but also outside with development, with product design, with a marketing team, and with manufacturing, it's critical that we all work together very closely. Our process on the packaging and E-Commerce side is very tied to our toy development process. So it's critical that we start right when the toy starts, right when the designers kind of put the theoretical pen to paper and start ideating on a toy. We're right there with them as we're developing packaging and E-Commerce. Well, E-Commerce creative comes later, but the packaging and toy are very much designed at the same time. And then technology is a big part.
We, every single person on my team leverages the creative cloud every single day of their lives. And we're, you know, as we roll in new technology, it's critical for us to find new ways to stay efficient, to be able to deliver the volume and the scale that we have. So all of these we woven into the case studies that you'll, that you'll see today. We're only going to go through about four or five. And each toy has a story, right? So I'll tell you the rest of the 3,996 stories at another time. So we'll start with our youngest consumer in the infant toddler preschool space in the brand and our Fisher Price brand. Fisher Price, for a little bit of context, was founded in 1930 during the Great Depression in East Aurora, New York, kind of coming out of this very Craftsman movement that was happening in upstate New York. And it's just crazy to think that a brand was that was born in 1930, that it's toy that's trend driven. That's all about kind of the new hot thing, that it's still around and it's thriving. Right? It's not just, it's not just surviving, it's actually thriving. And it is the number one brand in the preschool space. And so a segment within our Fisher Price brand is Little People.
1950, this character came about in the Little People brand and might be similar to the version of Little People that you played with as a kid. I know I had these figures and it's evolved to this kind of stylized version of a little person today.
And this very iconic toy, this had a permanent residence in my grandma's closet. I played with this thing all the time, The Fisher Price Farm. This is the reimagined version. This is the modern version of that old farm, but it's critical that we constantly reimagine and reinvent and sort of redesign our toys.
But it doesn't just stay with our youngest consumer in the infant preschool space. We need to innovate and evolve like every brand to stay relevant with our model consumers. So a collector audience was born. We saw a lot of success in how Funko Pop was doing their business, and the massive success that they've had, very popular, basically one form factor, but kind of overlaid with the property or the character to deliver and sort of appeal to those fans. So Little People Collector is the next evolution of the little person brand, Little People brand. Bringing that beloved and trusted form factor to adult collectors like never before. Collectors can relive their childhood, play out their glory days, and play out their obsessions in pop culture, from Golden Girls to Breaking Bad, there's something for everyone. And Little People continues to deliver that. The case study that I'll take you through today is rooted in Voltron. Voltron. Loved it as a kid. I was a huge fan of Voltron. For those of you that don't know. Ready to form Voltron. Activate interlock. Dinotherms connected. Infracells up. Megathrusters are go. Let's go Voltron force. All right, as much as I want to, we won't watch the whole cartoon, but, you know, tapping into nostalgia again from the 1980s. And as this is a figure based line, we start with the characters. And as a product design team starts interpreting those characters into that Little People form, we see how this starts to work. And the figures themselves are based on the five pilots from the show. That's the product, right? And we know that fans will really connect with those characters. What the fans really want is Voltron. They want those five lions formed together to create the super robot. So the packaging team took on the task on how we can bring that to life.
And what better way to do that than make the entire package the robot? Immediately the team knew that this had to be buildable. It had to be five individual robots. The structural engineer started out this process, very manual kind of process, in fleshing out a white structure that would act as the canvas for these individual bots. So we literally started cutting, pasting, and found imagery from wherever the Internet, a little bit of supplied imagery and assets from the licensor. But we got some quick ideation out in a very kind of manual way on how this could actually look. And each individual pilot is blistered into their own respective bot. Right? So each one is sort of their own thing and really now starting to work on the details, the mechanics, the mechanical, as it starts to work together to sort of form that robot. And our graphic designer had the task of recreating that iconic look of each lion into the structure, all while making it still feel like a little person, a Little People product. It's got to still retain the equity of Little People and sort of retain that cuteness. Another key part of a lot of collector packaging is the detail, the artwork. To really tap into that nostalgia, you really need to be authentically representing that property. And so you can see here a sketch from the artist with five different pilots in their seats, mimicking the show sequence that you just saw from the intro, all coming together to form Voltron. This is where we landed with a kind of from pencil to full color. Again, using the Creative Cloud as a tool to get this done. Then off to the right is the illustrated little person version of Voltron.
And even before we started receiving the production samples, the entire package is built virtually using plugins. So we go back and forth and this is kind of a common theme. You'll see this toggle back and forth between physical and Digital. In a 3D medium, like packaging, it's critical that everything works together, the fit and the finish and the details, all need to pull together quite literally in the final deliverable. So we oftentimes use this as an approval tool, an ideation tool. But the 360 we'll get a really good sense of how the pack and the design is working together. And we can then start to work through our approval process with our marketing teams, with our license partners, without having to physically send them a sample, taking time away from designers and engineers on the cutting table and manually comping things together, we can actually operate much more efficiently by going digitally.
And here are some great examples of the photography of the final product. So as we not only design and develop the packaging and the E-Commerce assets, we also design and develop the social assets and the sort of go to market and launch assets that are required to sort of create the buzz. And as this is primarily a direct to consumer offering, it was critical.
Again, launch assets, just fun, cute, snackable, get the word out there. Go to mattelcreations.com and get your own. Okay.
Next up is Barbie. Maybe some of you have heard of it, maybe you haven't, Barbie had quite a summer last year and really changed how we internally think about our brands with much more holistic approach to our IP. And Barbie last summer wasn't just a trend, she actually turned pink into a movement. Pink was everywhere, quite literally everywhere. Anything that was associated to pink, even if it wasn't, was turned pink in sort of the summer of Barbie. And who would have ever guessed that the term Barbie Heimer was a real thing, but it was said a million times and it came out of a lot of people's mouths. So as we kind of get into backwards, as we kind of get into this case study, it's a very different interpretation of Barbie. So one of the most storied collabs that we've had recently was with the artist Mark Ryden, whose actual-- His dream was to always have a collaboration with Barbie all the way through his childhood, throughout his career, Barbie was Mark Ryden's muse in many ways. And many of his pieces either include his surrealistic interpretations of Barbie or are a juxtaposition of his childhood with innocence and mystery. So we were really thrilled when we were able to start working and collaborating with an artist like Mark. And for those who aren't necessarily familiar, Mark Ryden is, I don't know him on a first name basis, So Mark Ryden is dubbed the father of Pop Surrealism. His art kind of blurs the boundaries between high and low art. And throughout his career, Mark was just a huge, huge Barbie fan. So again, team was incredibly excited to get to work. And as we started on this project, we started primarily digitally versus the example that you saw in Voltron. So concepts, all of these concepts were done in sort of digital form, allowing quick iterations, getting volume, sort of just throwing ideas on the wall to see what sticks. And the team was starting to get really inspired by this notion of layering, right? This idea of almost like a pop up book or a pop up card, this dimension and this reality really started to work as we put together the physical package and married that with the doll and some more concepts as we're working through, as we started sort of digitally showing the dream because of the 3D nature of packaging, falling back on the tried and true physical build, needed to fit, it needed to work, it needed to look all kind of cohesive as an offering, as a final pack, working through some different concepts. And that image in the bottom left is actually an image, a shot from his studio. He, Mark Ryden took some early concepts of the dolls, some prototypes, took them into his studio and actually started working on the backdrop paintings that were uniquely done for this collaboration to actually see how it interplayed with the dolls themselves. So starting to work on this sort of physical and 3D digital and 3D sort of process, it actually became very analog when Mark Ryden started painting, putting oil to canvas to bring these backgrounds to life, and then back to digital. So even kind of working through the idea of finish, right? How do we deliver a very premium design and a very kind of elevated offering, making sure that the finishes were all kind of working together. The printing techniques, the embossing, the debossing was all starting to work complementary.
Then on the right side, you'll actually see a little bit of the behind the scenes, the process, the make behind both the toy and the Package design process. And that is a snapshot from the gallery exhibit, the opening that we had with Mark Ryden in Los Angeles. So really kind of cool moment for the team to walk into a gallery setting right next to a Mark Ryden painting is your work on display, kind of bringing this toy and this package to life. It's the colors. See, I love bright and vibrant colors and that is really what I love about his art. These are all three of the packages that we created for this line. Each one has a different colored outer carton. We play a lot off of the graphics and the doll. So our job is really to showcase all of that as beautifully as possible. We went through like what storytelling could be and then how it could be applied to different structures. He developed icons that kind of hint to whatever's inside. On the Bee Barbie, we have this flower. You can see all the ridges of the flower. Gives it a little bit of dimension. We knew he wanted to create an environment for the doll to sit in. We wanted to reuse a lot of the elements so that it felt cohesive and told the story. Sort of like you get a peek into her world and it's quite magical. And then we also added the window at the top, letting more light in. It was an amazing project to get to be a part of.
This is great. You can hear the passion in their voice. It's really kind of inspiring to hear how inspired they were and how motivated they were to share us and Olga, structural engineer and graphic designer, as they started working through that project.
And this is the final result. One of them, at least. You know, these are Silkstone Dolls, so if you're not super familiar with the collector grade level of 11.5 inch fashion doll, Silkstone is very premium and it's also a very heavy. It's much heavier material than kind of the injection molded plastic that we use on sort of normal dolls. So the packaging material had to reflect that. It had to sort of protect in shipping and be a much more sturdy and premium execution to support the weight. And then this is the final collection. Really, really beautiful. Again, just kind of where graphic design, structural engineering, photography, illustration, all working together in concert to deliver this program and we won several awards for this project. A Dieline Award, very coveted in the packaging space, and just a real testament to the collaborative nature of the team.
A gallery shot, again, sort of mentioned it earlier. Our process work was hanging right next to these individually and uniquely painted Mark Ryden pieces that were done specifically for this collaboration. So really kind of a proud moment I'm getting really redundant with the process stuff. Okay, so this was this morning. Just keeping it in the Barbie space here for a second. This was a really great moment for me. I didn't know this was happening, but just a real quick shout out to one of our Barbie packaging designers, Sal Velasquez, who had a quote on the big screen this morning in the keynote. Apologies for the terrible photo. This was my proud dad moment of fumbling for my phone, trying to find and take a snap before it went off the screen. But essentially the quote is, bringing Adobe Firefly into our design process has created better alignment between our creative and marketing teams, which is certainly the case. And as just another plug for Adobe and us. This is from the Adobe blog. Go check it out. blog.adobe.com, highlighting the great work of Sal and his team as it relates to Firefly. These two packs below the 2024 Holiday Barbie, which is a massive one for us, every year we deliver a new doll and package for the holiday season and the Sue Bird pack are great examples of where we're incorporating Firefly or AI in a very significant way. You know, AI and Firefly are new to us. I think it's new to a lot of people. We're still trying to figure it out internally. We're still getting our heads around it. We're kind of in exploration and investigation mode right now. We're sort of researching. But these are two examples. The other examples that I'm sharing are too old, I should say.
They were done, and designed, and developed sort of pre Firefly World. And so this is just a really good example of how we're bringing new technology in and baking it into our workflow. It's going to become a bigger part of how we design in the future. All right.
Probably no other way. Grab the wheel, hard right turn into the world of Hot Wheels. Not a seamless transition, but also a representation of the range and the variety of brands that we have in the portfolio.
Hot Wheels, you're maybe sitting on one right now. This is sort of what is in people's minds when they think of Hot Wheels as a brand. It's the number one selling toy in the world. I believe there's a stat, there is a Hot Wheels sold every seven seconds around the world, which is just insane to think about.
The thing to note, I guess, about packaging here is we have 400 unique castings within the Hot Wheels brand every year. So every year, 400 new castings come out. They're not brand new, all of them. Sometimes they're kind of plucked from the library. But 400 unique illustrations have to land on Hot Wheels packaging every single year. And that's just the unique body style, right? That's just the car. There are also recolors. So our Illustration team has to recolor, essentially 1200 cars every single year. So it's, you know, kind of the coordination of that and just sort of moving through the volume of that type of work is really significant. And we are a tight and tidy team. We do not have hundreds of illustrators, we do not have hundreds of designers. We have basically three people in El Segundo that are managing the Hot Wheels basics line. There are some production resources that we have in Thailand and in Malaysia and certainly in Hong Kong. But technology, collaboration, staying very closely connected with our product design partners is the way that we get this done.
So while the 164 scale car is kind of the bread and butter, it's the vast majority of our business. We're always looking for ways to extend the brand. What's new? What's out there? What's next? And so Hot Wheel Skate was sort of our venture into the fingerboarding world. If you are not familiar with that one, check it out. It's a wild and wacky world where people emulate skate tricks with their fingers on boards, mini boards. And so as we started to think about this as a new kind of new line, a new extension of the Hot Wheels brand, we started ideating around, "How is the branding going to work? It needs to be different. It needs to separate from the core Hot Wheels car." In your mind's eye, you think of a car, needs to very visually be arresting and very different from sort of that core look. And so we actually partnered with this, a great agency called Lincoln Design, with help to sort of ideate the visual identity and sort of bring this new venture to life. And Lincoln's experience in the skate world and their kind of familiarity with the Hot Wheels brand made it a perfect marriage. It was a natural fit. So as we worked through the identity exploration, we really started falling in love with this sort of sketch style.
The modification of the Hot Wheels signature was like we had talked about earlier, really critical to differentiate, but also stay very visually connected to the core brand. This idea of taking, having permission to flex, and evolve, and push when you have such familiarity and such a recognition in the marketplace. So the idea of sort of irreverence really started landing too, this idea of sort of a kid almost doodling on their notebook. So those Sketches on the right started really forming this visual identity. And we recognized that there was a need for kind of a suite of assets here. It wasn't just a logo. We needed a backdrop. We needed a background, we needed key art, we needed, you know, this needed to be a flexible sort of segment and the assets needed to sort of reflect that. And how this represented, and showed up on package, and retail merchandising, online, and social media was all sort of part of the consideration. This went from a rough kind of one color to roughed out kind of color blocking version, taking it into Photoshop, interpretations of these sort of sketch style and really being playful and irreverent was one of the visual identity. And the humor was starting to really show through. And we also recognized that the flexibility of this was really important. So a connected one piece of key art was not going to work. It needed to be flexible, it needed to be expandable. We needed to push and pull all of these different parts for these different applications. And here are some illustrative sort of interpretations of play sets that we put out. So, kids would be able to not just buy the board, but buy something to actually skate on, skate on with. And ultimately, this is where we landed in terms of package design. So very different, very arresting, very unique interpretation of the Hot Wheels brand, as we introduced this new product line into a very busy and crowded marketplace. And then, back one, really cool example of retail merchandising in the bottom right. This really, again, arresting using that a lot. But the idea of grabbing attention in a crowded toy space where everybody's yelling at you, almost literally everybody's yelling at you, at least competing for your attention. This idea was really something that resonated with us. This idea of kind of a deck shape, skateboard, deck shape retail merchandising statement, which housed all of the product inside. And then this activation, again, just sort of fun, playful, irreverent way to bring people into this new brand. All right, we're going to keep on going here. UNO, we're going to keep playing the hits. UNO is having a real moment right now. It's the number one card game in the world. And after 50 years of being wild, it still keeps going. In fact, a lot of social media impressions were coming out over the last couple of years, from Taylor Swift on tour playing UNO to a celebrity soccer game that turned into a really great meme. Somebody reverse carding the referee that gave them a yellow card.
And the fun and playfulness within this brand is also something that we needed to and constantly need to sort of pull out, and I need a flared out UNO pant. That thing is incredible. So again, what you probably think of when you think of UNO, the brand, this is the package, this is sort of the core skew of UNO. But we are always looking to extend like in those previous examples, it's about tapping into different audiences and moving and pushing the UNO brand into different places with new partnerships and even tapping into kind of a collector sort of attitude or mentality, from the National Football League to Barbie, our own brand, all the way over to Takashi Murakami was great to see his image as he was sitting with Billie Eilish in the keynote this morning, really pushing the boundaries of UNO. And you do that through these really great partnerships. So this that I'll highlight, this study, this case study that I'll highlight is one with Keiichi Tanaami.
Tanaami, for those that you don't know, Tanaami was a preeminent Japanese artist and our Mattel team really just fell over themselves as an opportunity to work with Keiichi Tanaami and his team.
And going the opposite way of digital was literally putting pencil to paper. So, you know, as we started ideating and just quick sketches and quick kind of ideas and thoughts on how to interpret Tanaami through the UNO brand, you know, some take a little bit more of a traditional path and this was definitely that. Putting pencil to paper, even in introductory meetings with the licensor and Tanaami's team, you're able to express through a 30 minute, one hour meeting some quick thoughts and get people off and running on the same page. So Tanaami and his team understands what our limitations are, what we're trying to accomplish, and visually we can start off on the same page.
It's critical in these extensions to strike that balance of art and toy and in the game space, it's really critical to strike that balance of sort of artistic interpretation and gameplay. It still needs to play like UNO, it still needs to have those colors, it still needs to have the numbers. You still want to be able to play the game like you would in a normal UNO deck. Even though there are certainly some different visual interpretations and actually different rules that are baked into there. So again, kind of exploring structurally, we knew that the package was going to be a big way to differentiate from all the UNO's that are out there in the marketplace and also elevate, bring the quality up and make sure that we're not sort of perceived as a mass retail brand or an offering, this is a very different and very elevated offering. And this just sort of a quick exploded view of the packaging components that the structural engineer put together essentially kind of as it was splayed out or will be splayed out in a mechanical, just sort of the folded up version. And we're actually able to leverage Adobe Substance 3D as part of our ideation tool. That allows us to quickly fold up packs and I'll get there in a second, but also represent them with kind of full color graphic design on the outside. This is where we landed in terms of structure. Again highlighting the capabilities of Substance 3D and our design and approval process. This allows us to move quickly and nimbly through our design and development process so that we're not wasting a lot of time cutting. We're not proving things out on the cutting table, we're actually proving things out on screen with the 3D medium, like I mentioned earlier, very important, the fit and the finish, especially when we're talking about a premium offering, all really important. So you got to pull that into kind of a physical space fairly early. But the quick early ideation that Substance 3D allows us to do is really remarkable. And you can kind of see this very unique kind of unboxing experience as somebody would receive this pack. There's a flap that opens, there's a recess in the middle, so you can access the four decks of cards. This also has 126 or 28 cards inside of it, so it's more than a normal UNO deck. So that was also a part of the design consideration. And then at the same time, the graphic design team started exploring the range of designs and really started falling in love with this concept on the left, which is really kind of seeing this concept of seeing Tanaami's art through the frame, and the logo, and the UNO logo, and these hints of his art styling and filling panels with his artwork really, really started to be very interesting for both us and Tanaami's team. And this is where we landed, really beautiful execution, a very elevated version of the UNO deck. And another kind of aspect of the games team that is unique from other categories within the toy space is a lot of times it's printed paper, and so the graphic design team, the packaging team, takes on the responsibility of game design as well. Not the mechanics of the game, but the actual graphic design and visual communication of the game, whether it's a board or cards or whatever, that falls on my team's responsibility as well.
Okay. And then this is a snapshot of the capsule program that we had with Tanaami that was really great.
The shot on the left is there was three products that were part of it, certainly the UNO deck, but also this wild version of Barbie that is really great, that I'm absolutely in love with, and then a Magic 8 Ball. A Magic 8 ball wrapped in his graphics, and certainly a very different structural design that captures that eight ball there too. And then the right side is a shot of the gift shop essentially at the Japanese Modern Art Museum that did a retrospective of his work, and we were able to sell products inside of that gift shop. And so I mentioned earlier that technology was a critical part of how we are able to deliver at the scale and the volume, 4000+ SKU's. How do you do it? You have to pull in technology to gain some of those efficiencies. So recently, Mattel partnered with Adobe Workfront to streamline our creative process. Very, very kind of hand in glove relationship with the Workfront team to personalize kind of our workspace that sort of fit our needs. And we've seen a lot, we're early days on our enrolling out workfront like you're going to see in a second. But we are seeing some really massive sort of efficiencies and improvements in how we do what we do. So let's look at how this came together a little bit. So as a graphic designer or a production designer, you might be sitting in Shenzhen, you might be sitting in East Aurora, New York, but you're dealing with all of these different things, a strategy brief, initial graphic concept, formal design review, copy review, translations, it's a lot. So as designers, a lot of this information used to be in various places. It was in email, it was in a live meeting, it was in an Excel document, it was in a lot of different places. And so as we work through all of these different things, you would have to hunt and pack and find all of this information, as a designer that was wildly inefficient. We were wasting a ton of time hunting and packing and not designing. And my design team, I need them to work, I need them to be on the board, I don't need them to be sending out emails and trying to figure out where the latest information is. So creating stunning packaging is a multilayered process bringing together a lot of creative teams. And so just a little bit and not going to spend too much time on this, but as we look into kind of what a designer sees as they open up an Illustrator mechanical and here's the Tanaami for example, you're able to now, as part of what you see, as part of your window within, baked into Illustrator are all of these different tasks on the right. So that task bar will open automatically when you open Illustrator. And you can click on tasks to see different details, different aspects of a project, like who's assigned to the project, who do I talk to, who's the working team, the due date, when are the press dates, any other information that a project manager might want to bake in there. You can also click on approvals, or previous proofs, you can click through and find earlier versions of that design baked into Workfront. It's not a Workfront demo, so I'm going to kind of roll through this a little bit. But as you work through, you can kind of click. You see kind of what's going on, maybe.
And you can also tag certain people for certain tasks. So a designer can communicate through Workfront to his Asia counterparts, through other people in the organization to find out more information. And as you click through, you can start to see some of those tasks that are related to that particular project. So just a really, really wonderful way for us to kind of track a lot of these different activities, requirements really, kind of necessary activities to get our projects done in a much more efficient, much more effective way than ever before. And it allows us to land on these sort of beautiful packs and these incredible assets. Thank you so much for joining us. Have a great rest of your time at MAX. Make sure you have time to play. Thank you! Thank you, Jamie Dunn. Thank you, Lindsay.