’s Christmas House

Tim Kugelmann Bol

By putting a fully decorated Christmas House up for sale on Funda, the most popular real estate platform in the Netherlands, we strengthened’s link with Christmas under an audience that’s usually very difficult to reach.

Challenge is a brand that is, from its heritage, strongly linked to Sinterklaas. The ambition for the 2021 Christmas campaign was to also establish a similar mental link to Christmas, to ultimately become the leading retailer during the whole holiday period.

The goal was to be in the top three brands that are associated with Christmas. A hefty challenge. In 2020 the list was dominated by strong ‘Christmas brands’ Albert Heijn (16%), Coca-Cola (15%) and Jumbo (7%), with closing the ranks with the 9th position (2%).

Christmas is a cluttered time in the advertising space. We had our ATL campaign in place, but we also knew we didn’t have the media budget that would allow us to have the number one share of voice for 3 weeks long. An extra challenge was making an impact with our target audience under 40, who were hard to reach through our traditional assets. So we had to go clever about it.

Idea’s Christmas campaign was all about going all out this year and celebrating Christmas better than ever after two years of COVID. This involves decorating your house with beautiful Christmas decorations. To display and promote’s Christmas range in an original way, we used a very special and relevant medium:

Funda is not only for buyers or sellers. With 5 million viewers every month, the platform is also visited en masse to find inspiration or sheer entertainment. The second reason was the booming housing market, especially for people between the ages of 30-40. That’s why we used the largest real estate platform in the Netherlands.

So we put a house up for sale, fully decorated from top to bottom, because Christmas decorations really come to life in a house. With Christmas lights, a snow projector, a huge inflatable Santa in the garden and every room in theme, the house was completely Christmassy, ready for sale and a sight to behold in all the pictures.

Another unique part of the content on the Funda page, was the presence of real estate agent Tim Kugelmann in the promotional photos – dressed up in all kinds of outlandish Christmas outfits. This made the house ad even more over the top. We also put some boxes as little easter eggs in the attic of the house, hoping for some first response from observant viewers.

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As is not officially allowed to sell houses on, we first reached out to real estate agent Tim, who was already known for his eccentric way of promoting houses on Funda. This also gave legitimacy to the activation, as we could then communicate through a reputable real estate agent. Tim was immediately excited about the prospect and already had a fitting, typically Dutch house in mind. 

We then joined forces with Jelier & Schaaf, a full service art department, to create a design and fully decorate all the different rooms in the house, in several Christmas themes. 

With the house fully decorated, we then created typical ‘house-for-sale content’, together with the real estate’s official photo- and videographer and launched the house on Funda on the 6th of December. We first built as much organic reach as possible with a targeted PR approach. After that, paid content was used to make the link with even more explicit.

Influencer Kees Tol, known from tv programme ‘Weer Verliefd op je Huis’, gave Christmas fans a tour of the house. In the same week, Funda displayed banners from the overarching campaign to inspire people with the Christmas product range.

Check out the case film below!


The Funda Christmas House activation achieved a total reach of 8.230.011 impressions and a total PR value of €137.805,-. The Christmas house was the most viewed house on for over a week and had the strongest single medium effect (compared to traditional and other digital media) on the total uplift of the campaign. Meaning that the target group who have seen the Christmas house, associates 8.2 times (index 820***) more with Christmas in comparison to the group with no exposure to the activation. won the attention battle and ended up as the number one brand linked to Christmas, going from the ninth to the first place. Overtaking big Christmas brands like Albert Heijn and Coca-Cola.


In order to really stand out and win the most important retail period of the year, we choose to not only rely on ATL communication, but rather display’s Christmas assortment on a medium that is already visited over 5 million times a month. 

Funda is not only for buyers or sellers. The platform is also visited en masse to find inspiration or sheer entertainment. By understanding this cultural value and the power of the platform, we found a smart way to get earned attention without pushing the brand too much upfront from the beginning. 

With one activation on a relevant platform; we cut through the clutter, reached and engaged with our target audience under 40, proved’s position as the one-stop shop for all your Christmas goods and we activated the relevant feeling of going all out this year.

Tim Kugelmann Bol 1


Strategy director NL

Dennis Hamakers

The Bartlett School of Architecture

A state-of-the-art virtual exhibition

The Bartlett School of Architecture is one of the world’s most diverse, innovative and creative places to study architecture. Every summer, it hosts its largest annual event, The Bartlett Summer Show, which celebrates the work of over 700 students, and welcomes circa 15,000 visitors from all over the world.

In 2020, due to the COVID-19 crisis, The Bartlett Summer Show couldn’t be held in its usual format. Hello Monday (part of DEPT®) set out to create an engaging, state-of-the-art digital alternative. The result was an exciting virtual experience and platform that firmly positions The Bartlett as the cutting-edge institution that it is, while ensuring that students could showcase, celebrate and share their work in the best possible way during a challenging time.

The concept behind it all

In order to create an experience that felt authentic, Hello Monday (part of DEPT®) first considered how The Bartlett Summer Show is normally physically encountered and set up. The team abstracted these elements to their fundamental shape and function for use in a digital context.

A spatial experience

The resulting digital building blocks enabled the team to build a virtual showcase which is reminiscent of the physical experience, without being a literal translation of it. On landing, vertically stacked ‘floors’ represent the different programmes and units, each one acting as an entrance to its own exhibition ‘room’ which users can freely explore.

User activity and ambient sound

Through use of ambient sounds and visitor traces, the team added a layer to the experience that created a sense of a live atmosphere, ensuring that The Bartlett Summer Show still felt like a live show, even if taking place virtually.

An award-winning project

Hello Monday (part of DEPT®)’s work for The Bartlett School of Architecture did not only convince the client. The state-of-the-art virtual experience was also celebrated and recognised as Site of the Day by the Awwwards and as Site of the Day & Site of the Month by the FWA.


Senior Producer at Hello Monday (part of DEPT®)

Rikke Agersnap

World Health Organization (WHO)

Putting disability inclusion in the spotlight

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The World Health Organization (WHO) is the United Nations (UN) agency connecting nations, partners and people to champion health and a better future for all, leading global efforts to give everyone, everywhere an equal chance to live a healthy life. The WHO turned to DEPT® to conceptualise and design a series of awareness-raising campaign assets that would help position it as a role model on disability inclusion within the UN.

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Leading the charge

The WHO Affinity-Resource Group on Embracing Disability – a voluntary, employee-led team charged with creating a diverse, inclusive and supportive workplace culture – had devised a disability inclusion action plan which they wanted to maximise the impact of. The team recognised that a strong campaign concept, visuals and messaging was needed to raise employees’ awareness of disability inclusion, the WHO’s policy on it, and how it was going to tackle it. 

Being such a vast and complex organisation, with 8,000 employees in 150 locations across six regions, the WHO was looking for an expert creative partner to develop a versatile concept that would resonate across the full breadth of the organisation. As a Certified B Corporation that is committed to DE&I, DEPT® leapt at the opportunity to conceptualise a creative campaign that would empower and inspire the WHO’s global workforce to take action.

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Evolving the brand

To develop campaign assets that resonate and are memorable, it was essential to establish a strong brand mark that would tie all elements of the campaign together. The WHO came to DEPT® with a starting point: a logo. Our creative experts refined and evolved the logo to ensure it was reflective of the campaign’s aims relating to accessibility and inclusion, and that it was in a format that could be easily augmented and applied across all mediums.

The logo needed to be scalable, so we redrew it before adopting typography best practice to incorporate a new, more accessible font and creating much clearer separation between the logo and the tagline; maximising flexibility by allowing for more characters when translated, with limited space restrictions. As well as providing greater versatility in usage across the campaign assets, it was future-ready for translation and application throughout the worldwide organisation.

Campaign Guidelines 22 Bringing it all together

Idea exploration

Kicking off the design thinking process, DEPT®’s creative team established a series of digital boards where they could deep dive into the brief to pull out key messages, ambitions and language that would be central to the campaign. 

The purpose of this discovery stage of design thinking is to stretch as wide as possible to share all research and ideas across the team to aid optimum collaboration and conceptualisation. After interrogating the brief, we recognised the importance of the campaign’s messaging, so we primarily focused on the words that could shape the campaign. After gathering hundreds of words and phrases relating to the theme, we analysed them to develop three narrative ideas to share with the WHO.

Once we had cemented the most impactful narrative options, we started to think about how they could be visually interpreted to enhance and bring focus to the messaging. At this stage, following a thorough review of existing disability campaigns, DEPT® set an internal goal to ensure that our concepts did not go down the stereotypical route, which focused on iconography and graphics. To drive maximum impact and resonate with the vast audience, we opted for a visual direction that leaned heavily on the use of striking, abstract shapes and patterns, complemented by photography of ‘real people’ so that employees could see themselves represented within the campaign. In a bid to reflect the campaign’s aims, at all times we wanted the visual direction to be bold, confident, positive and uplifting.

Creative interpretation

Following thorough research and exploration of different routes to take, DEPT® developed three campaign concepts that could be used independently or in conjunction with one another. Every route presented challenged the disability inclusion status quo both linguistically and visually. Two of these concepts were combined to form the final campaign concept.

A spotlight for all

Our primary ‘spotlight’ creative concept was based on how disabilities are sometimes overlooked. We wanted to challenge the “out of sight, out of mind” mentality that is so prevalent in the space, drawing attention to disability inclusion in order to make a change. The idea naturally inspired ideas around circular ‘glow’ shapes and gradients that could be used to bring typography in and out of focus, much like a spotlight. 

Using the spotlight in this way helped us communicate that after being seen, disabled people deserve to be heard. We avoided the use of stereotypical imagery and, instead, opted for a more abstract and versatile choice, with different sized and positioned ‘glows’ reflecting the diversity of disability, as well as providing the opportunity to highlight individual disability challenges. The approach also provided the flexibility to work both as a purely graphic asset, or complemented by photography.

1 in 7

15% of the world population has a disability. 15% of the WHO’s workforce equates to 1 in 7 people. This was cemented as the secondary message of the campaign for its ‘wake up and pay attention’ impact, highlighting to team members that they will cross paths with people with disabilities more frequently than they may have realised.

We took colour inspiration from the existing logo, adopting magenta as the primary hue for its eye-catching qualities, and incorporating this with a purple shade that has increasingly become associated with disability awareness and has been used in a previous WHO campaign, allowing for recognition as well as an element of continuation. 

As an absolute minimum, we ensured all design elements, including font and colour choices, met the requirements of Level AA WCAG (Web Content Accessibility Guidelines). Although true Level AAA requirements are largely based on black and white designs, we incorporated as many of the technical elements as possible, while nodding to this through the use of imagery that was largely black and white in tone, creating a striking contrast against the vibrancy of our chosen colourway.

Maximising versatility

All too often, campaigns only translate well in certain situations and mediums. So flexibility was paramount to the effectiveness of the concept. Not only did the assets have to resonate digitally as well as above the line, they were to be translated into multiple languages to be communicated across the six world regions the WHO operates in, and meet both immediate and longer term campaign requirements. 

The campaign assets DEPT® produced were in English, but with the WHO rolling out this campaign globally, we had to consider how they could be edited by internal team members for translation and circulation within their region. With that in mind, we exclusively featured text outside of any shapes to allow more freedom when translated into languages that tend to use more characters. 

Although the initial brief only outlined a small requirement of flyers, GIFs and social media frames, the versatility of DEPT®’s approach enabled the team to expand on this to deliver a toolkit of campaign assets that met both immediate and long term needs for digital and print circulation. This would ensure maximum impact of the campaign across all of the WHO’s internal communication channels.

Reaching milestones

DEPT® developed a memorable and empowering campaign concept and a toolkit of assets that tick every box. In presenting this concept, the WHO Affinity-Resource Group on Embracing Disability beat off stiff internal competition to secure board funding that will facilitate its delivery across the six world regions it operates in. 

The campaign will soon be expanded and rolled out across two key regions, before being communicated across the rest of the world, to drive awareness, increase Affinity Group members, and engage the entire workforce in the important discussions around disability inclusion.


Head of Design

Simon Fairhurst

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A green strategy to reach more climate-conscious donors

Justdiggit header image
Max Reilman
Max Reilman
Strategist, Digital Marketing NL
7 June 2022
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The temperature of the earth keeps rising, and in effect, the earth is drying out. To stop this desertification and climate change we must take action now. Justdiggit, together with farmers and local parties, greens dry soil in Africa to make it fertile again. With their campaigns they spread awareness about nature-based solutions and call to action: Dig in! Justdiggit looked for a way to better streamline their digital marketing channels and expand their community of donors.

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A worldwide regreening movement

Together with farmers in Africa, Justdiggit digs crescent-shaped circles (called “bunds”) in dry soil. Rainwater can be collected here and that ensures that the soil becomes fertile and green again within a year. This is not only necessary for the local living conditions, but also for humans and nature worldwide. With climate change at stake, this is an opportunity where DEPT® as a B-Corp organisation, is happy to contribute. 

The community of Justdiggit consists partly of local partners and communities that work the soil, and donors & ambassadors that create a worldwide awareness to financially contribute to these solutions. Donors primarily come from European countries (such as the Netherlands, the UK, and Germany), where donations go to environmental projects. To expand this community on a worldwide scale, we first had to determine what our focus was and how donors could be reached. Furthermore, we had to streamline our online marketing channels better.

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The strategy

Since all media budgets are pro bono and therefore limited, choices had to be made on how we could best use our budget. Both per channel, and on a national scale. Where did we see the most opportunities, and how could the community be expanded? 

To maximise the impact of the marketing campaign, four phases where set up:

  • Analysis of the market attractiveness
  • Analysis of donations and media behaviour among the target group
  • Optimal media mix based on (grant) media budgets
  • Effectively measuring the growth of a community 

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Our approach

Target group

Optimal media mix


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We combined our power with Justdiggit for this green mission. After rolling out the strategy, we saw the following increases in performance:

  • 16% growth in turnover from donations
  • 35% growth in sessions
  • More hearts were greened? Check!


Strategist, Digital Marketing NL

Max Reilman

The American Society for Deaf Children

A pioneering approach to teaching the sign language alphabet

To address language deprivation and help bridge the communication barrier between deaf or hard-of-hearing children and their (hearing) parents and peers, creative studio Hello Monday partnered with the American Society for Deaf Children to create – a hand tracking experience using machine learning to help learn the sign language alphabet.

The importance of the sign language alphabet

Every year, 2 – 3 out of every 1,000 children born in the US are deaf or hard-of-hearing. 90% of these children are born to hearing parents and, in many cases, their child is the first deaf person these parents have ever encountered.
Without being introduced to sign language at an early stage, a deaf child may miss out on learning language. This can lead to language delay or deprivation, which has long-term negative impacts on a child’s life. That is why it is so important that parents of deaf children have the opportunity to learn American Sign Language (ASL) as soon as possible. This is where comes into play.

A playful learning experience is a browser-based app that uses a webcam and machine learning to analyse your hand shapes so you can learn to sign the ASL alphabet correctly. Fingerspelling is an essential part of ASL, the primary language of the American Deaf community. It is often used for proper nouns or to spell a word you don’t know the sign for.

The app shows the user a series of words and uses a 3D model to demonstrate how your hand should be positioned for each letter.  When you sign the word, the camera tracks your hand movements and provides feedback so you can make corrections as needed. This helps you to quickly develop your fingerspelling skills and move to the next level of the program.

The fingerspelling game is a great way to introduce the basics of ASL in a fun and playful way. Instead of having to read or watch videos about fingerspelling, we offer an online teaching tool that guides you step by step in how to master fingerspelling – hands on!

Anders Jessen, Founding Partner, Hello Monday

The design and tech behind it

From a design perspective, the goal was to communicate fingerspelling in the cleanest and most simple way possible. Therefore, the 3D-hand is placed prominently in the centre of the site and paired with a playful typeface. Its angled glyphs have a dynamic movement that mirrors subtle visual nuances in the hand gestures, and the slightly off-kilter appearance feels joyful and engaging.

In regards to colour, the aim was to use a palette that was bold enough to draw people in and, at the same time, energise them to start learning to fingerspell. Capturing attention was key.

The 3D hand was designed to feel friendly, with enough detail for users to be able to easily see how the fingers are positioned and bent. A blend of cartoon style and realism was the perfect solution.

When it comes to the technology used, the main feature of the site is the hand tracking, for which MediaPipe Hands is used. It is extremely performant, and is able to do detection, even when parts of the fingers are hidden behind other fingers.

The most time-consuming task was to define when a Fingerspelling letter should be accepted or not. The team developed a rule-based system for each of the letters which looks at the rotation of the hand; whether it faces up, down, left or right. If the hand orientation is correct, it then looks at how each finger is positioned and how much the finger is bent. Setting up the rules was a manual process for each letter which involved a lot of trial and error. To make sure the signs are all taught the right way, an ASL professor helped test all of the different letters.

A useful learning tool, recognised in the Awards industry

The result,, is designed for desktop, primarily to be used by parents of deaf children, but it can help anybody become more familiar with the ASL alphabet by providing an easy and simple way to get started.

Within 10 days of launching the site, 150,000 correct hand signs were made. 10 months later, more than 2.5 million correct hand signs had been registered. The American Society for Deaf Children now also uses as part of their own training materials, which shows just how useful the tool is.

We created this fingerspelling tool with Hello Monday to help parents support their child’s mastery of sign language and so parents can share the joy of communicating and connecting with their deaf child.

Cheri Dowling, Director of Outreach and Programs, American Society for Deaf Children has certainly made a positive impact for the Deaf community and its innovation has been recognised with prestigious international awards, including:


Founding Partner, Hello Monday (part of DEPT®)

Anders Jessen

Van Gogh Museum

Step into the extraordinary

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More and more individuals are shifting towards digital channels to accomplish any and everything. Seeing this shift, the Van Gogh Museum understood that it needed to elevate its digital presence and ensure it was accessible to everyone. So they asked DEPT® to turn their existing website into a work of art.

Designing a new website worthy of Van Gogh’s art

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The Approach

The iconic Van Gogh Museum in Amsterdam, dedicated to displaying the works of Vincent van Gogh, is one of the most important museums in the Netherlands. With over 200 paintings, 400 drawings, and 700 letters by the artist, it’s the largest Van Gogh collection in the world. To meet the demands of the digital world, the museum has partnered with DEPT® for the last two years. Together, we have created a new visual identity for the museum and developed the Unravel Van Gogh mobile app. But it was time to take it up a notch and design a new website worthy of Van Gogh’s art.

When you think of Van Gogh, colourful sceneries come to mind. So this was our starting point. We wanted the website to resonate with the user and leave an impression while, at the same time, being modest and simple in appearance. So, to kick off our design process, we started with an analysis which would enable us to make concrete recommendations for the museum’s future website. We researched the user journey and delved into any challenges they may face while browsing the current website, paying special attention to any difficulties those with a disability may encounter. 

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Behind the brushstrokes

To ensure the content stood out and that the design did not compete with the work of Van Gogh or other work featured on the website but instead complimented it, we kept the design clean and minimalistic, giving it a timeless feel. We embraced the museum’s new identity, which was designed by Studio Dumbar (part of Dept) in 2018, by using similar colours and typography. We assigned each page to a different colour which was adapted to the work of art displayed on it, a feat rarely done amongst the white backgrounds of various museum websites. We also implemented subtle interaction animations and transitions to make the website feel light and engage the user. 

The museum website not only aims to inspire and entice visitors but also educate and delight them. However, the old story format didn’t promote users to read the content in its entirety.  So we updated the website’s story format by simplifying the layout while making it more snappy and interactive as the user scrolls down. This made the articles more appealing to read, especially for users coming from social channels. It also enabled editors to create and post content in a much quicker fashion.

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Revealing the details of Van Gogh’s paintings digitally

The museum’s new website embarks in a voyage of discovery and inspiration, helping guide art lovers to the world of Vincent van Gogh. Ensuring users all around the world are inspired by how Van Gogh influenced art’s history and can connect with the museum in a desirable digital manner.

Experience the website


UX Design & Research Lead

Franklin Schamhart


Bringing art to life in a digital manner

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The Louisiana Museum of Modern Art is a leading international modern art museum and a top attraction in Denmark. Art, nature and architecture are combined to create a unique experience that attracts visitors from all over the world. However, the art museum didn’t feel like its website captured and reflected this experience so they asked DEPT® to redesign it in order to provide users with an elevated digital experience.

A website that reflects the uniqueness of the Louisiana

Louisiana’s collection of Modern Art dates from 1945 to the present day and contains more than 4,000 works of art, both paintings and sculptures. However, the museum is famous for more than simply stunning artwork, from the building’s location and architecture to its playful children’s wing, its the 360-degree experience which makes one’s visit memorable. But the museum’s current website did not echo this unique physical experience. So we created a clean and minimalistic new site which showcases that the museum is full of life and allows important information to stand out, much like colours on a blank canvas.

A new website which communicates the holistic experience of visiting the Louisiana museum

Conducting consumer research to decipher priorities

The museum’s website had been around for quite some time and the client had lost track of it. The interface had become cluttered, by trying to communicate everything all at once, the website ended up sharing little with a user that often felt bombarded with information. So, to kick off the process, we started with an analysis which would enable us to make concrete recommendations for the museum’s future website. We researched user needs via surveys, interviews and by looking at Google Analytics. Based on this information, we helped the Louisiana define business goals and clear objectives for the website which were inline with the museum’s overarching strategy.

Our consumer research illustrated that the new website needed to convey the uniqueness of the Louisiana experience, excite the visitor while also supporting and improving the actual visit by providing tailored content for various users. It also highlighted ten user persona’s which enabled us to create different user journeys and prioritise some user interactions over others.

A website which entices users to visit

Once we understood the various user journeys and pain points, we began working in an agile manner to redesign the front-end of the website section by section.

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We started by decluttered the interface and organising the information into various tabs to ensure the navigation was simple and that each page had a clear purpose. Next, we prioritised communicating practical information and current exhibitions in addition to events and activities hosted by the museum. So all of this information can now be found on the homepage of the museum’s website. But we opted to keep the museum’s webshop as a separate subsite to preserve the main site’s message of conveying useful information and encouraging individuals to visit.

However, we didn’t simply want to communicate with a user, we wanted to entice them to visit the museum. So we incorporated video content to bring the museum to life and awaken a user’s curiosity.

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Don’t try to outdo picasso

The Louisiana museum’s architecture is sleek, modern and functional. So we channelled those same characteristics when creating a visual identity for the museum’s website. However, we did not want the website to become a piece of art, as the staff at the museum have a saying which goes “Don’t try to outdo Picasso”. So, instead, opted for a clean, timeless and minimalistic look which enables content to stand out against the white background and stimulates the interest and curiosity of the viewer.

However, the website should not look like a basic template either. So using a 24 grid system, we created a modern yet non-symmetrical layout to make the design more unique. The aim was to convey that despite being an art museum, the Louisiana is full of life. So we added interactive elements which activate when a user hovers over them in addition to using video clips to illustrate the museum experience.

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Bringing the Louisiana museum to life

By understanding the user’s pain points, we transformed the Louisiana Museum’s website into a timeless and contemporary mobile-friendly platform which does not compete with the art but instead allows it to shine and entices the user. By using a similar colour palette and typography as the museum itself, our local team translated the museum’s DNA in a digital manner and brought the art to life.


Creative Director & Head of Design

Rasmus Keller Jansen


Using the power of technology for a good cause

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What do you get when you bring digital and tech together with a good cause? A digital marketplace where donors are linked to African farmers, who shovel life back into the barren soil.

The project

The climate is one of the major concerns of this generation. Realising this, Justdiggit trains people in areas of drought to dig half-moon circles in which rainwater is collected. This process of ‘greening’ ensures that the land will be fertile again within a year, something that is vitally important for the local population and which, on a larger scale, the whole world can benefit from.

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Climate change is one of the major concerns of this generation

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Spreading the knowledge

Justdiggit focusses on spreading their knowledge all the while empowering locals to organise and carry out the work themselves under the guidance of fundi’s, the local rangers. In order to have a lasting and positive effect on the climate, Justdiggit needs to fertilise as many hectares of land as possible, something it simply cannot do by itself. They believe that empowering the local population is a sustainable solution.

Justdiggit asked DEPT® how technology could help them achieve their goals. As we’re committed to making a change, the agency is a breeding ground for social and sustainable initiatives. So within DEPT®, a team was put together to give a helping hand.


In a strategy and design sprint, the team designed a platform where farmers who want to dig holes in a qualifying area are linked to people who want to sponsor them. Research showed that many of the farmers in African villages are well connected. They completely skipped landlines and ADSL and take care of a lot of business mobile. For example, over 40% of the population of Tanzania does their banking via M-Pesa, which amounts to 95 million mobile money transactions per month.

People in the West can easily donate money through Ideal and in the background, a system automatically connects the donations to all the farmers who are allowed to dig in a qualifying area. Once a hole has been dug, it is captured with a photograph. The donor receives the photo and the transaction overview. It is a fair system and a perfect example of cutting out the middleman, where Justdiggit is purely the facilitator.

The marketplace/app works as follows:

  • People in the West can easily donate money through Ideal.
  • In the background, a system automatically connects the donations to all the farmers who are allowed to dig in a qualifying area.
  • Once a hole has been dug, it is captured with a photograph. This photo is approved by a fundi, who acts as a kind of overseer, and then the transaction is made.
  • The donor receives the photo and the transaction overview. Digging a hole costs €3,64, of which €2,02 goes to the farmer (55%). The rest of the money goes to the purchase of seeds (27%) , the salary of the fundi (5%), transaction costs (5%) and the protection of project areas against overgrazing by cattle (8%). It is a fair system and a perfect example of cutting out the middleman, where Justdiggit is purely the facilitator.

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Clear objectives

Real world challenges

Rabobank x Justdiggit

An all inclusive project

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The most important quantitative goals of the platform in 2019 were to raise the average donation height. Our prognosis was that the combination of complete transparency of the chain and higher engagement by use of messenger and/or the platform would make this happen.

This worked out: the particular donations via the platform is now €34,35 per benefactor; that’s almost three times than the regular online donation to Justdiggit before the launch of the tool. This was far above expectations, especially when you keep in mind there’s been no paid media involved.


Programme Manager

Koen Schunselaar

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