KPMG needed a business strategy for the redesign of their primary websites- and Working directly with senior executives and global stakeholders, we assessed brand, content, data flow, processes and feasibility with a focus on cost savings and return on investment - delivering detailed screen prototypes and a roadmap for execution. The realized plan resulted in an immediate cost savings of over $1.5M.

needed a total redesign and reengineering of their corporate  website. Marney became Interim Director within Bearing Point's executive team directing assessment, adoption, design and implementation. Working directly with senior executives across all divisions, we drove the site rebrand, modernized the thought leadership libary and restructured internal teams to maximize talent. We built business agreement early by iterating screens that were designed to the pixel, resuting in implementation on time and under budget. The new site enabled BearingPoint to realize an expanded global client base of 14%, and a registration conversion increase of 47%. We then moved on to redesign the intranet ,integrating 150+ disparate sites.

PRGX, the largest profit recovery firm in the world, needed an interface for an audit system to standardize processes for all auditors nationwide. PRGX conducts profit recovery audits for most major US retailers. They process more transactional data than any company in the US .The interface needed to load and display data quickly, simplify data acquisition and entry, unify disparate audit procedures, and satisfy the unique requirements for each retailer. Extensive interviews and analysis at client audit sites,including WalMart, Walgreens and Kroger, helped us understand the issues first hand. At introduction, the system increased revenue by $4M, contributing to a record 4th quarter profit.

Express, a division of the Limited, needed an interface integrating the entire company operations: Merchandise Planning, Purchasing, Distribution and Accounting. Because the buyers needed an interface that supported fast, mission-critical decisions, we modeled the interface after stock trader screens-garment details, seasonal color trends, and vendor and factory history could be sliced ,diced and flipped rapidly, We spent a year in Columbus talking with buyers, controllers & managers- analyzing their existing systems, and in particularl their workarounds. The use of prototype screens right from the start let execs and users participate in the design and generated corporate wide support for a project that touched everyone at Express.

Clinique was the first cosmetics company to have a presence on the Internet. Working directly with the executive team led by CEO Dan Brestle, we first created successful retail display and channel projects, and then built on that success to translate the Clinique brand to the Internet. The challenge was to protect Clinique's distinctive brand and within the framework of a classic engaging design that would evolve with technology. We translated all existing material (Irving Penn photos, print campaigns legacy product shots & descriptions) into consistent formats within one large data structure, and built a UI that displayed that information quickly and elegantly onscreen. The original design we created remains the foundation for today's

Apple was our first client. We spent over three years embedded at Apple, creating over 40 interactive projects in almost every area of the company from product introduction, marketing, sales, creative services, human resources, engineering support, user education and product design. The experience we gained in the art of engagement, customer connection, product magic and execution formed the foundation for everything we do today.

The Walt Disney Company engaged us for multiple projects across several organizations, including Imagineering, Buena Vista/Hollywood Pictures, and Walt Disney feature films. We created the interface for the original, all the web sites for the movie slate that year- including 101 Dalmations, which was the "most visited" children's web site in the world that year because of the engaging games and activities we created that parents and children enjoyed together. For Walt Disney Imagineering, we created a prototype interface that eventually became (since replaced). Imagineering also engaged us to help set their interactive strategic direction.

News Corp,
in a joint effort with TV Guide, required an interface for the first Interactive TV Guide. The interface you use on your TV today is probably a descendant of this interface which was licensed to all major carriers and for which Animatrix stil shares a patent. The presentation of the final result was one of our more dramatic deliverables. We created a giant wall of monitors- all different ages, aspect ratios and color displays- to demonstrate how the interface would appear in a wide range of situations.

Viacom/Macmillan Publishing
needed an ecommerce site that provided an identity for each imprint (Que, Sams,Idiot's Guides etc) and a consistent interface across them. Visitors needed to get to any book page in 2 clicks any way they chose to - by imprint, series, subject area, or by search. We onsolidating multiple databases. sped up performance, upgrades and maintenance, and created an engaging site that was voted a USA Today hot site. The site resulted in a $1M cost savings and a $10M increase in annual revenue.

engaged  us to design our largest effort ever- a proprietary online service that incorporated national retailers and publishers- as well as local advertisers. We spent a year designing the interface and graphics, as well as creating a set of class libraries to provide an interface with AT&T's partners.

AT&T Labs asked us to redesign their internal website, which displayed all AT&T research, trend analysis, and an extensive system following topics on AT&T's radar. The challenge was to design an interface that served casual AT&T visitors as well as serious researchers who required in depth associative data.

was a self-funded three-year educational project that provided the opportunity to experiment with interactive design in a deep way. Walt Mossberg of the Wall St Journal called Sprocketworks "way cool" and Newsweek pronounced  Sprocketworks  "stunning".
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