New Year, New Logo: FableVision Celebrates 25 Years with a Fresh Look

As we celebrate our 25th anniversary, we’re ecstatic to share FableVision’s new logo! We’re continuing to collaborate with amazing partners to create “stories that matter, stories that move.” Our mission to inspire, teach, create lifelong learners, and move people to action has never been more important. Our fresh look pays tribute to the whimsy of our original logo with a more contemporary design to “draw” us into the next chapter of FableVision’s work.

FableVision was founded in 1996 by Peter H. Reynolds, Paul Reynolds, Gary Goldberger, and John Lechner. “Something really special was born when we launched FableVision 25 years ago,” shares Peter H. Reynolds. “We have an incredibly talented team of kindred spirits assembled and it made sense to honor the creativity that drives our studio with a refreshed purpose to do good in the world–and with that came the desire to rethink our logo.”

The original FableVision logo was designed by Peter during an early creative retreat to New Hampshire. The weekend was informally known as the “Let’s Build a Studio” retreat and it was then that the logo took shape. It featured his signature handwriting, and the “hand of the artist,” an aesthetic we’ve always loved, was portrayed through its “retro” or “diner-esque” vibe. 

“Twenty-five years feels like the right time to think about our brand from a fresh perspective,” says CEO Paul Reynolds. “Our mission to move the world to a better place through story, media, and technology has never wavered and continues to drive us.”

The core of who we are remains consistent throughout the years. We have a 200-year mission to move the world to a better place through story, media, and technology. As media continues to emerge and evolve, we want to keep changing with it.

“A lot has happened over the course of our history and as we started to think about what comes next, the redesign embodies a future for FableVision with a larger and more encompassing focus,” adds President Gary Goldberger. “With a new logo and new office, we also have a revived, new energy to take on educational challenges and inspire learners of all ages.”

Our new logo still encapsulates a playful personality. It importantly includes the word “studios,” which wasn’t integrated into our logo until now. The gray burst background calls back to the energy of our original red, orange, and yellow starburst. It works well on white and black and is clearly legible. 

“We like the play on varying ascenders and descenders–who wants to stay ‘inside the lines’ anyway?– and the mix of tilted upper and lowercase letters felt like just the right amount of quirk,” says Bob Flynn, Director of Art and Animation.

To honor our fondness for hand-drawn flair and whimsy, a spiral replaces the O in FableVision. The O is interchangeable with various icon doodles from the artists on our staff and our wider creative community. One image didn’t encompass all that was FableVision, so we decided to add a dynamic design element that can be ever-changing. Sometimes you see our logo, it may feature an alien; other times it may sport a cup of tea. 

“Our new look reflects the spirit, joy, humor, and warmth we bring to all studio projects,” says Sarah Ditkoff, Vice President of Strategic Partnerships. “It also has an element of surprise with the changing icons, which is something our clients know us for, and we were able to effectively channel that into a look that will soon become synonymous with our brand.”

While we will love and cherish our original logo, we hope you’re just as excited about our fresh look as we are! Keep an eye out for the new logo and its fun iterations in our future projects. Stay tuned here for updates on new collaborations ahead. 

FableVision Studios’ Five Core Design Principles

As a mission-based studio, FableVision is committed to creating positive, story-driven educational media that moves the world to a better place. As a part of that mission, we pride ourselves on our people-first design process, always thinking about the needs of our end-user, the context of their learning, and the impact of our product.

When we approach a new project, no matter the topic or goal, we always prioritize accessibility, engagement, and play. Whether we’re creating a game-based app, animation, museum interactive, website, Augmented Reality experience, or any other form of media, our core principles stay the same. 

Want to pick our brains about your next media project? Reach out! We’d love to chat. 

1. Education is for Everyone

First and foremost, FableVision believes that every person—no matter their age, race, gender identity, sexual orientation, or socioeconomic status—has the right to a quality education. Therefore, the studio is committed to lowering barriers of access in educational communities, both in formal and informal learning spaces. Whether our end-user is an educator in Iowa, a preschooler in Maine, or a grandparent in Texas, we always ask ourselves three key design questions: Is this approachable? Is it relatable? Will it lead to learning, behavior change, or action?

2. Using Research-based Design to Create Safe Spaces to Learn, Explore, and Discover

Our design process and media are crafted to engage and impact audiences in all contexts—including consumer, classroom, family, and museum markets. We believe learning media should provide a safe space for learners to practice, experiment, fail, and grow from their mistakes. With the appropriate scaffolding, learners can reach their full potential, proving to their educators and themselves that anything is possible.

3. Commitment to Diversity and Inclusion

FableVision Studios believes that representation matters. Whether a project uses human or non-human characters, takes place on Earth or an imaginary planet, or utilizes fantastical or magical elements as plot drivers, believable, relatable characters are critical. Media should present an accurate, inclusive reflection of the audience consuming it. In that spirit, FableVision takes pride in writing and designing diverse characters. We also take care to cast diverse voices when selecting talent for voice over.

4. “Designed for One, Beneficial for All”

In all our work, FableVision strives to maximize accessibility in ways that are seamless to the user experience. The studio has worked with The Perkins School for the Blind, the Helen Keller National Center, National Braille Press, and Bridge Multimedia, among many other partners committed to accessibility standards. In addition, we have incorporated Universal Design for Learning (UDL) principles in our work for many years, and we apply those principles in creative ways to ensure the interactive experience is appealing and engaging to a wide range of visitors.

5. Playful Learning for Any Content, Any Platform

No matter the learning area, engagement lies at the crossroads of vetted content and research-based design. We have created learning environments that teach social-emotional learning, literacy, STEM, financial literacy, substance use prevention, civics, and more. FableVision works to ensure that all learning experiences match the content, spark curiosity, and offer an open invitation to playful exploration.

Nine FableVision Resources for 2019 Back to School

Back to school season is upon us, so you know what that means—shopping for a new backpack, mapping out the bus route, and gathering the newest tools for learning! FableVision is here to help teachers, parents, and students make this school year the best one yet. Check out some of the many resources we have available to support learners of all ages, both in the classroom and at home.

---

Zoombinis (TERC, Learning Games Network)

In this relaunch of the nineties classic game, players can practice their logical reasoning, pattern finding, and problem solving skills with 12 puzzles and four levels of increasing difficulty. In Zoombinis, middle schoolers  strengthen and implement their algebraic thinking, data analysis, and theory formulation skills in a fun and engaging setting, helping the Zoombinis, groups of small blue characters, on their logical journey home. The game is available for use on mobile and desktop applications, and can be played both at home and in the classroom.

---

Different Kinds of Hurt: Isaac’s Story
(Massachusetts Department of Mental Health, Walker Cares)

It can be hard to open up to the people around you about how you feel. But Isaac and Mia are here to show you that it’s okay not to feel okay! Different Kinds of Hurt: Isaac’s Story, a multimedia campaign to promote conversations about mental health, destigmatizes these conversations by highlighting the similarities between mental health issues and physical injuries. Additional resources on how to identify signs of mental health issues in children and who to contact for support can be found on the Isaac’s Story website. 

---

Keenville (Georgia Department of Education, Georgia Center for Assessment)

Keenville, a game-based assessment we created for first and second grade students in the state of Georgia, changes what the traditional classroom looks like by making tests more fun and engaging. Students are faced with tasks and questions and are rewarded with beans, which they can exchange to buy items in the game. While students play through the games and improve their math and literacy skills, teachers can assign games and track their students’ progress through a specialized teacher dashboard. 

---

Project Here Games (The Office of the Attorney General of Massachusetts, Health Resources in Action, and the GE Foundation)

Created as a part of Project Here, a Massachusetts state-wide initiative to promote substance use prevention and healthy decision-making, Project Here Games is a useful tool for teaching social emotional skills. This game-based app consists of minigames and quizzes that allows for the user to practice skills such as standing up to peer pressure, coping with stress, and making healthy choices. Project Here Games is designed for grades 6 through 8 and can be used in an independent or collaborative setting, both at home and in school.

---

Digital Citizenship Music Videos
(Common Sense Education)

With the rise in internet and technology use in our daily lives, the next generation of young leaders need to learn how to navigate and use technology responsibly. With the help of the “Digital Citizens,” students will learn how to make safe decisions online. As a part of Common Sense’s re-vamped Digital Citizenship curriculum, FableVision created lyrics, songs, and animation for three music videos about media balance, being safe and respectful online, and more. Produced with students K-2 in mind, these videos will have you singing along while learning how to build good digital habits. 

---

Lights, Camera, Budget!
(Georgia Public Broadcasting, the Georgia Council on Economic Education)

Ever wondered what it takes to be a big shot Hollywood film producer? Lights, Camera, Budget! teaches key personal finance skills to middle and high school students as they navigate the process of creating a hit movie without going over budget. In this Common Core Standards aligned game, students learn financial literacy concepts by distributing an initial $100 million production budget and correctly answering multiple choice questions on a variety of personal finance topics to earn even more money. A virtual advisor provides expertise in one of three popular film genres, as well as money management throughout gameplay. Implement this game in your math class to help your students understand the importance of budgeting and managing your finances. 

---

The Paper Girls Show (Global Tinker) 

Join Caily and Reese on their journey of discovery, fun, and creativity! Inspired by STEAM education and the Makers Movement, The Paper Girls Show follows the two best friends as they explore Confetti, a world made of paper. Inspire the young scientists and inventors in your life to learn about art, science, computer programming, engineering, and friendship through the animated video series, maker projects, and additional resources available on The Paper Girls Show website here.

---

The Word Collector Animated Film
(Weston Woods)

Kids like to collect things like stamps, baseball cards, and even bugs! But what does Jerome collect? Words! Learn more about Jerome’s story as he discover new words and learns more about their power and magic in The Word Collector, an animated film based on FableVision founder and best-selling author/illustrator Peter H. Reynolds’ book of the same title. This film shows learners of all ages the ability words have to connect, transform, and empower. Follow along with your copy of the book, and share your favorite words on the Word Collector website here.

---

FableVision Learning CTE

Looking for a way to implement animation into your classroom? FableVision Learning’s Animation CTE Program is here to help students experience animation through Animation-ish, an animation training program that provides them with the skills needed to be successful beyond school. The Animation-ish software, designed by award winning author/illustrator/educator Peter H. Reynolds and the FableVision team, enables students to develop their creativity, collaboration, and communication skills.

August FableFriday: Michael Fogarasi, Producer

“I was drawn to FableVision because of its emphasis on mission-based projects” says Michael Fogarasi, FableVision Producer. “This coupled with working with creative and technical teams here at the studio brings a uniqueness to what might otherwise be a traditional project management role.” As producer, Michael manages not only his own schedule, but those of his team members. He also keeps track of task lists, reviews, and other items to ensure the projects he produces are running efficiently and delivering high quality content.

Michael is also no stranger to stepping up when it comes to a new project. As evidenced by his transition from Associate Producer to Producer and his role as Production Internship Coordinator, Michael not only understands the production process, but is also passionate about guiding and mentoring FableVision interns so that they can understand and become familiar with it.

Although every project is different, Michael welcomes every unique challenge and works hard to keep the team on track to deliver a project that meets both the client’s mission and the studio’s goals. And since we work with like-minded organizations to move the world to a better place, his managing of our teams is seen and felt by staff and partners alike. Let’s jump in and learn more about his process for approaching new projects, what he looks for in a production intern, and where he’s headed on his next vacation!

How did you come to be at FableVision?
I started college around the time when educational technology websites and apps like Quizlet and Duolingo were first coming out. Once I tried them, I was immediately hooked—they not only became an integral part of my learning experience, but also sparked a passion for educational technology. Pursuing this passion, I ended up as an intern in MIT’s video production department, where I helped film and edit courses for MIT OpenCourseWare. Then, a good friend of mine and former FableVision associate producer Katie Tusch, let me know the team was hiring for the associate producer position, and I jumped at the chance.

You have to balance a lot of schedules when producing projects. What does a day in your life look like? And how do you keep your team(s) on track?
My day starts and ends with a variety of productivity tools and schedules. Every morning, I’ll check in on FableVision’s weekly schedule and my own schedules for each of my respective projects. I’ll then make sure that each person on my team knows what they have ahead of them that day—sometimes that’s through project stand-ups, Slack check-ins, or I’ll just head over to their desk. 

For projects that are earlier in the process, we tend to meet fairly frequently, so I’ll gather the team for brainstorming sessions or production meetings to start the problem-solving process. I’ll also frequently meet with clients to present what we’ve been working on, making sure that we capture their feedback.   

All of this information ends up getting organized on my personal Trello board. Anything that comes my way gets immediately noted and categorized—I rely upon it heavily! I probably run through my to-do list 10-20 times a day to determine the next steps that need to be taken. Then, I’ll do one final swoop at the end of the day to ensure we’ve hit all of our deliverables, while also previewing the next day—just to make sure there are no surprises! 

What is your process for approaching a new project, and what advice do you have for new producers starting their first project?
The beginning of a project is an exciting time—it can go a million different ways and it’s the producer’s job to help find its footing. Beyond setting up all the organizational infrastructure, my advice would be to become intimately familiar with the client’s goals and wishes for the project. I like using the project kickoff to explore the client’s background and reasons for coming to FableVision. Those early conversations can set the tone for the entire project—if you’re able to keep these discussions in mind, you can make sure that every decision is made in the project’s best interest. 

What’s the biggest difference in producing animation and game projects?
Animation and games are quite different in the way they are experienced—animation conveys its information to curious viewers, while games need to get their message across through a series of interactions. 

In animation projects, I like to think of the storyboard as the end-product of the ‘plan’ phase. Once the script has been written and the storyboard drawn—both major feats on their own—our team has a pretty good sense of whether the piece is engaging or conveys the intended message. If we’re happy with the piece at this stage, we can be very confident that we’ll similarly be happy with the final piece—and so it just becomes a matter of executing on the storyboard, which requires tracking all the assets to be created, scenes to be animated, and audio to be recorded. 

Meanwhile, an interactive project’s ‘plan’ is typically a game design document, which describes all the interactions a user may encounter throughout the experience. Ultimately, the design process requires careful testing and tweaking of the document’s mechanics over the course of the development cycle to ensure that we create something fun that simultaneously gets the content across. Because of that, our team needs to act much more quickly—constantly meeting, reviewing game builds, and discussing potential improvements—while also figuring out which assets need to be tracked and created. It’s a process that keeps you on your toes!

You’ve produced some pretty large projects during your time here. Can you tell us a little more about one in very recent memory, Project Here Games? What went into getting that project to the finish line?
Project Here Games was a really fun and challenging project to work on. The project was commissioned by the Massachusetts Attorney General’s Office (AGO) as part of their Massachusetts-state-wide Project Here initiative to combat substance use through social emotional learning and healthy decision making. As you can imagine, that’s a pretty hefty task to fit into an engaging website for middle schoolers—but none too big for the project’s creative masterminds, Leigh Hallisey (creative director/writer) and Loren Lee-Flynn (user experience designer). Our team devised a series of quizzes and games, which were designed to model real-world situations and reward healthy decision-making. Combined with a really fun art style from our art team, Keith Zulawnik and Christina Kelly, the website was an instant hit. And collaborating with associate producer, Mikaela Johnson, and really dedicated teams at the AGO, Human Resources in Action, and GE, allowed us  to wrap up the project smoothly and successfully. 

You also project managed The Paper Girls Show! What’s your favorite thing about that animated series?
The series Paper Girls Show depicts two friends, Caily and Reese, who are both totally enamored with STEM and use it to solve all sorts of creative challenges. The show aims to break down gender stereotypes around STEM subjects and empower more girls to join those fields. It was inspiring to work with a team of people who were passionate about the mission. This created a fast-paced, creative environment that was amazing to be a part of—we could barely keep up with all the backgrounds, characters, and designs our art team was producing. And at the end of our first season, it was exciting to receive validation for our hard work once we took home animation awards at Cannes, Palm Springs, and KidsScreen!

You’re also the coordinator for the studio production internship. How do you work with the interns to insure they’re getting the most out of their time here, and what do you look for in a production intern?
At the beginning of a student’s internship, we meet to determine what sorts of projects they are interested in and subsequently pair them with a few. While assigned to a project, the interns become part of the team, helping out in a variety of capacities. When I was an intern at various companies, I didn’t always get a sense of the company’s bigger picture beyond the project I was assigned to, so I also started a series of weekly meetings with our interns, in which studio members discuss their roles and backgrounds. Through these meetings, the interns are able to see how all the different pieces of the FableVision puzzle fit together. 

Regarding prospective candidates, I’m most interested in whether they have demonstrated a real interest in either children’s media or educational technology. We’re looking for students who are really passionate about the field and made efforts to contribute to or learn about it. 

What are your favorite ways to unwind after work?
I really enjoy running, biking, or cooking when I get home in the evenings. I don’t have a car in MA, so I’ve been able to get out and explore the area by biking deep into the suburbs and countryside. I also love trying out and perfecting new recipes, particularly with unique ingredients or new flavors I haven’t experienced before. 

You’ve lived in and travelled to a lot of countries. How have your travels influenced you, and what’s your next vacation destination?
I was lucky enough to grow up in a foreign service family, which meant moving to a new country every three to four years. It’s hard not to love travel with that kind of background. So since I moved back to the US about 10 years ago, I’ve been trying to get out as much as possible. I love seeing unique places (especially city skylines), trying new foods, and⁠—though I’m a bit of an introvert⁠—meeting new people. 

In terms of next destinations, one of my good friends is moving to Argentina for a few months and I’m hoping to get down there in the fall. It will be my first South American destination, but I’m hoping to travel throughout the continent at some point. 

More about Michael:

Current show you’re binge-watching: Anything from Bon Appetit’s YouTube channel.

Favorite game: Mario Kart Double Dash.

Any podcast recs? It’s not the cheeriest rec, but I’ve been listening to Slate’s Slow Burn about Bill Clinton’s impeachment. I’ve been trying to revisit political events from my childhood and this fits in perfectly. 

Go-to dish to bring to a potluck: Homemade hummus or a dip with too much garlic.

Favorite book you’ve read recently: Bad Blood: Secrets and Lies in a Silicon Valley Startup by John Carreyrou.

Libraries Got Game: Empowering Communities Through Education and Play

Libraries and librarians have a powerful impact. They offer a welcoming and accessible space for the community to explore their passions and be creative. As longtime supporters of libraries and their roles in their communities, FableVision was proud to co-host the Libraries, Games, and Play Conference alongside American University and the Institute of Museum and Library Services. We’re also grateful to all the conference organizers, including Bob Hone, Lindsay Grace, and J Collins, who were the lead conference organizers of the event.  

The conference took place in April in Washington D.C. and welcomed attendees from the library and educational gaming fields. We heard from librarians, educators, and more about how library resources helped further the goals of their students, as well as their own goals in technology and game design. 

The day was filled with amazing speakers who spoke about the unique ways in which libraries have touched their lives as educators and their students’ lives. 

Throughout the day, FableVision and the Reynolds Center for Teaching, Learning, and Creativity showcased Fab@School Maker Studio, which introduces students to 2D and 3D printing and modeling. This tool allows students to get more comfortable with digital design and fabrication tools. FableVision Studios also shared some recent projects such as CyberChase Fractions Quest, which engages students in fraction learning, and Project Here Games, which promotes substance use prevention and healthy decision making skills.. 

To close out the conference, FableVision and Reynolds Center CEO  Paul Reynolds discussed the ways that libraries shape the minds of future generations, as well as how they encourage creativity and play. He also touched on his personal experiences and how teachers and libraries have inspired and motivated him throughout his life.

With the inaugural Libraries, Games, and Play Conference behind us, the studio created a series of case studies that highlight four speakers at the conference—Lindsay Grace, Erin Walter-Lerman, Juan Rivera, and Kenneth Nero—and each of their unique connections to libraries and games. Each speaker was deliberately chosen  to showcase different perspectives and connections to gameplay and game design in libraries. The vignettes bring attention to the mission and importance of the conference.

First, our team created scripts for the case studies based on what the speakers discussed in their respective talks. The illustrations for each case study were presented in a slideshow style with key figures emphasized through strategic zooms. Audio was recorded to go along with each case study, voiced either by the speaker or an approved voice actor.    

These spotlights show how libraries can provide a space for exploration and accessibility, and they effectively illustrate the important roles these centers have in communities. All four of the case studies are now available on the Libraries, Games, and Play Conference website. You can watch the vignettes here!