

Doug Knapton Creates
Doug Knapton Creates
EngagingEngaging
EngagingEngaging
EngagingEngaging
Motion Design
that
Push
Brand
Storytelling
His strategic approach combines extensive user research, iterative testing, and data-driven design decisions to deliver solutions that increase conversions, improve accessibility, and strengthen brand recognition. Doug's work has reached over 1 billion people globally and has been recognized by the Webby Awards, Fast Company's Innovation by Design, Indigo Design Award, and Anthem Awards.
Case Study
Education Development Center
Visualizing how Adult-Child Engagement Boost childhood Development
Role
Motion Designer
Services
Animation Production
Agency
Constructive
Case Study
Education Development Center
Visualizing how Adult-Child Engagement Boost childhood Development
Role
Motion Designer
Services
Animation Production
Agency
Constructive
Case Study
Education Development Center
Visualizing how Adult-Child Engagement Boost childhood Development
Role
Motion Designer
Services
Animation Production
Agency
Constructive
Context
The Education Development Center needed a way to introduce The Engage Toolkit to prospective implementation partners around the world. The toolkit is an international framework for measuring and improving interaction between children and their caregivers and educators.
The problem was translational. the organization needed a way to make the toolkit’s methodology instantly legible to partners who had never seen it in action. I stepped in as motion designer, collaborating alongside two communication strategists and a print designer. The project had a hard deadline tied to a grant requirement, with no room to slip.
The Process
I treated this project as a collaborative production pipeline because most of the stakeholders had never worked on a motion design project before. I broke the process into visible, approvable stages so the client always knew where we stood and could weigh in early, when changes were easier to make:
Script alignment first. I worked with the strategist to define word-count targets and the key narrative beats so the script would already fit the format.
Low-fidelity storyboards I mapped every beat of the voiceover to a visual intention, giving the client something concrete to react to long before any animation existed.
Voice casting as a design decision. I sourced multiple voice actor options and directed the final actor's pacing and cadence to match the visual rhythm we'd already established.
Midway through, I identified a gap: we were relying on pictograms because there wasn't much usable footage of ENGAGE being implemented internationally. Rather than accept that constraint, I pushed the client to source real footage from their implementation partners. That footage strengthened the second and third videos by showing the real value of the toolkit being implemented around the world.
Context
The Education Development Center needed a way to introduce The Engage Toolkit to prospective implementation partners around the world. The toolkit is an international framework for measuring and improving interaction between children and their caregivers and educators.
The problem was translational. the organization needed a way to make the toolkit’s methodology instantly legible to partners who had never seen it in action. I stepped in as motion designer, collaborating alongside two communication strategists and a print designer. The project had a hard deadline tied to a grant requirement, with no room to slip.
The Process
I treated this project as a collaborative production pipeline because most of the stakeholders had never worked on a motion design project before. I broke the process into visible, approvable stages so the client always knew where we stood and could weigh in early, when changes were easier to make:
Script alignment first. I worked with the strategist to define word-count targets and the key narrative beats so the script would already fit the format.
Low-fidelity storyboards I mapped every beat of the voiceover to a visual intention, giving the client something concrete to react to long before any animation existed.
Voice casting as a design decision. I sourced multiple voice actor options and directed the final actor's pacing and cadence to match the visual rhythm we'd already established.
Midway through, I identified a gap: we were relying on pictograms because there wasn't much usable footage of ENGAGE being implemented internationally. Rather than accept that constraint, I pushed the client to source real footage from their implementation partners. That footage strengthened the second and third videos by showing the real value of the toolkit being implemented around the world.
Context
The Education Development Center needed a way to introduce The Engage Toolkit to prospective implementation partners around the world. The toolkit is an international framework for measuring and improving interaction between children and their caregivers and educators.
The problem was translational. the organization needed a way to make the toolkit’s methodology instantly legible to partners who had never seen it in action. I stepped in as motion designer, collaborating alongside two communication strategists and a print designer. The project had a hard deadline tied to a grant requirement, with no room to slip.
The Process
I treated this project as a collaborative production pipeline because most of the stakeholders had never worked on a motion design project before. I broke the process into visible, approvable stages so the client always knew where we stood and could weigh in early, when changes were easier to make:
Script alignment first. I worked with the strategist to define word-count targets and the key narrative beats so the script would already fit the format.
Low-fidelity storyboards I mapped every beat of the voiceover to a visual intention, giving the client something concrete to react to long before any animation existed.
Voice casting as a design decision. I sourced multiple voice actor options and directed the final actor's pacing and cadence to match the visual rhythm we'd already established.
Midway through, I identified a gap: we were relying on pictograms because there wasn't much usable footage of ENGAGE being implemented internationally. Rather than accept that constraint, I pushed the client to source real footage from their implementation partners. That footage strengthened the second and third videos by showing the real value of the toolkit being implemented around the world.
Outcomes
The client's confidence in the collaborative process led the project to expand from a single video grew into three full videos. Leadership described the process as fun and genuinely collaborative. The videos accomplished their real goal of making an abstract, research-driven framework understandable to first-time viewers, and became active tools in partner presentations and outreach.
Watch Final Videos
Video #1: Introduction to The Engage Toolkit
Outcomes
The client's confidence in the collaborative process led the project to expand from a single video grew into three full videos. Leadership described the process as fun and genuinely collaborative. The videos accomplished their real goal of making an abstract, research-driven framework understandable to first-time viewers, and became active tools in partner presentations and outreach.
Watch Final Videos
Video #1: Introduction to The Engage Toolkit
Outcomes
The client's confidence in the collaborative process led the project to expand from a single video grew into three full videos. Leadership described the process as fun and genuinely collaborative. The videos accomplished their real goal of making an abstract, research-driven framework understandable to first-time viewers, and became active tools in partner presentations and outreach.
Watch Final Videos
Video #1: Introduction to The Engage Toolkit
Reflection
The biggest lesson was that breaking a technical production into transparent steps created trust and made the process fun. I also learned that pushing back on a creative default (pictograms-only) and asking the client to source real footage paid off directly in the final quality of the work.
Reflection
The biggest lesson was that breaking a technical production into transparent steps created trust and made the process fun. I also learned that pushing back on a creative default (pictograms-only) and asking the client to source real footage paid off directly in the final quality of the work.
Reflection
The biggest lesson was that breaking a technical production into transparent steps created trust and made the process fun. I also learned that pushing back on a creative default (pictograms-only) and asking the client to source real footage paid off directly in the final quality of the work.
Case Study
Other Motion Design Work
Clinet Motion Work Throughout the Years
Role
Motion Designer
Services
Motion Graphics
Agency
Constructive
Case Study
Other Motion Design Work
Clinet Motion Work Throughout the Years
Role
Motion Designer
Services
Motion Graphics
Agency
Constructive
Case Study
Other Motion Design Work
Clinet Motion Work Throughout the Years
Role
Motion Designer
Services
Motion Graphics
Agency
Constructive
Fig 01
FrameWorks Institute 'Explain The Frame' Motion Graphics Video Series. Key artwork stills from a motion graphics and video series I designed and animated for the FrameWorks Institute. I collaborated closely with the FrameWorks team to develop storyboards that properly visualized complex communication recommendations covering topics from public health communications to unpacking cultural mindsets.
Fig 01
FrameWorks Institute 'Explain The Frame' Motion Graphics Video Series. Key artwork stills from a motion graphics and video series I designed and animated for the FrameWorks Institute. I collaborated closely with the FrameWorks team to develop storyboards that properly visualized complex communication recommendations covering topics from public health communications to unpacking cultural mindsets.
Fig 01
FrameWorks Institute 'Explain The Frame' Motion Graphics Video Series. Key artwork stills from a motion graphics and video series I designed and animated for the FrameWorks Institute. I collaborated closely with the FrameWorks team to develop storyboards that properly visualized complex communication recommendations covering topics from public health communications to unpacking cultural mindsets.
Fig 02
FrameWorks Institute 'Fast Frames: Mindsets & Movement' Motion Graphics Video Series. The challenge for the Mindsets & Movements Series was to build a unified motion system flexible enough to include talking-head interviews, animated explainer graphics, and animated typography treatments. I developed a series of custom iconography that gives abstract concepts like individualism and fatalism a recurring visual vocabulary. Across the whole series, the goal was to make dense behavioral science and narrative-change research feel human, watchable, and shareable.
Fig 02
FrameWorks Institute 'Fast Frames: Mindsets & Movement' Motion Graphics Video Series. The challenge for the Mindsets & Movements Series was to build a unified motion system flexible enough to include talking-head interviews, animated explainer graphics, and animated typography treatments. I developed a series of custom iconography that gives abstract concepts like individualism and fatalism a recurring visual vocabulary. Across the whole series, the goal was to make dense behavioral science and narrative-change research feel human, watchable, and shareable.
Fig 02
FrameWorks Institute 'Fast Frames: Mindsets & Movement' Motion Graphics Video Series. The challenge for the Mindsets & Movements Series was to build a unified motion system flexible enough to include talking-head interviews, animated explainer graphics, and animated typography treatments. I developed a series of custom iconography that gives abstract concepts like individualism and fatalism a recurring visual vocabulary. Across the whole series, the goal was to make dense behavioral science and narrative-change research feel human, watchable, and shareable.
Fig 03
Animated Key Artwork for FrameWorks Institute 'Culture Change Project'
Fig 03
Animated Key Artwork for FrameWorks Institute 'Culture Change Project'
Fig 03
Animated Key Artwork for FrameWorks Institute 'Culture Change Project'
Fig 04
Animated Logo and Branded Imagery Treatment for the Digital Inquiry Group.
Fig 04
Animated Logo and Branded Imagery Treatment for the Digital Inquiry Group.
Fig 04
Animated Logo and Branded Imagery Treatment for the Digital Inquiry Group.
Fig 05
Introduction Reel for the Digital Inquiry Group
Fig 05
Introduction Reel for the Digital Inquiry Group
Fig 05
Introduction Reel for the Digital Inquiry Group