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Antoine Olivier GRAPHIC LAYOUT

Blondé Strategy: Anne-Mie Callens Petra Gerousse TEXT

ITM designers ITM judges Jan Edwards COORDINATION

Blondé Communication: Christian Jadoul Tina Praats PRODUCTION

Blondé Strategy Blondé Communication Blondé Printing SAPPI

Manue Gheysen Mia Coenen PRINTING

Blondé Printing PUBLISHED BY

Sappi Europe SA 154 Chaussée de la Hulpe B-1170 Brussels Belgium © 2009 Sappi Europe SA Marketing Communications All rights reserved under universal copyright convention. No part of this book may be reproduced in any form without the written permission of the publisher. The information contained in this book has been provided by the designers and jury panel concerned and every effort has been made to maintain its accuracy and character.

Ideas that Matter was developed by Sappi in recognition of the fact that many designers generously donate their time and talents to create material for charitable causes. Enter the world of Ideas that Matter: a decade of campaigns in Europe.

Itâ&#x20AC;&#x2122;s about helping people, doing our planet some good, and creating prosperity. It all actually starts with an idea that matters. What matters is that we all have a responsibility for the world around us. We must move beyond identifying problems to solving them, making things better. What matters is that the idea is tangible and will create action - action for good, action that improves lives and communities. What matters is the creative idea of designers, who have unique skills and therefore the opportunity to contribute and change things through design thinking. If they donâ&#x20AC;&#x2122;t, who will? What matters to you?




















































































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“What a great image and marketing strategy. ITM is an idea that matters” Elisabeth Kopf studied psychology, history and philosophy in Austria. In 1989 she moved to Hong Kong, returning to Vienna, where she now lives and works, in 1992. The birth of her son in 1993 was the spark that ignited her future creative life which is self-taught with projects in photography, graphic design, visual concepts and art. In 1999 she opened the Baustelle design studio. She works in corporate identity, cultural design and self-initiated experimental projects. Her work features in design publications and exhibitions around the world and has won various design awards. Since 2004 she is a design lecturer at the University of Applied Arts in Vienna and other educational institutions. She became a member of AGI in 2006. ‘I have been a member of many design juries in different countries. It‘s always interesting to search for innovative design and it‘s always


a great joy to hand out a certificate of design excellence to especially skilled and creative people. But I have rarely experienced a design award that not only promotes the career of a designer but also has such a strong impact on the realisation of projects. This is what makes the Sappi Ideas That Matter Award so special! It is a very smart concept that brings benefit to all: the designers, their clients, society and finally to Sappi. It demonstrates the successful social and cultural engagement of a global company. What a great image and marketing strategy. ITM is an idea that matters!



“It's gratifying to have been a witness to the inspiring work for social good” Trained at the London Central School of Art and Design, 1960. Director of Knoll International Design Consultancy 1961, partner in Crosby/Fletcher/Forbes 1999, co-founder of Pentagram 1972, and Mervyn Kurlansky Design, 1994. Clients include m u l t i n a t i o n a l co r p o ra t i o n s , c u l t u ra l establishments and educational institutions worldwide. A winner of numerous design awards, he was inducted into the South African Hall of Fame. His work is included in the permanent collection of MOMA New York and features in publications and exhibitions worldwide. He conceived and designed the books Watching My Name Go By, the first documentation of New York graffiti, and Masters of the 20th Century, celebrating the Icograda London Design Seminars 1974-99 and has co-authored four books on Pentagram. He is active in design education, lectures extensively and serves on international design

juries. He is a past President of Icograda and a Fellow of the Chartered Society of Designers, the International Society of Typographic Designers and RSA, and a member of AGI and Danish Designers. 'Having played a major role in the creation and maintenance of the Ideas that Matter programme, selecting jury members and chairing selection sessions, it is most gratifying to have been a witness to the inspiring work for social good that has been achieved by the international design community over the past nine years. This is a unique programme initiated by Sappi and the company can be proud of the important contribution it has made to designers, NGOs and society at large.’


‘The support of such a wide variety of social causes is very impressive’ Specialising in cultural and sustainable design projects, Helmut Langer has created many multicultural and global communication projects of international significance, including several UN organisations. Published worldwide and represented in major international design collections, exhibitions and publications, such as First Choice – Leading International Designers. He has received many prizes and awards at international competitions. From 1987 to 1993 he served as President and member of the board of the International Council of Graphic Design Associations (ICOGRADA), the world body for professional communication design. He has been invited to be a juror at many international design competitions. And has been a speaker at design conventions around the world for many years. He teaches at various universities in Asia, Latin America and Europe. In 2008 Helmut Langer was honoured by the Nagoya


University of Arts in Japan with the title Professor Honoris Causa. ‘Ideas That Matter is a global showcase for creativity, individual social conscience and public engagement on various levels – local, regional and international. The willingness of the international design community to support such a wide variety of social causes in is very impressive.’


‘Important design works and communications for the benefit of society’ Educated in Germany, Annette Lenz lives and works in Paris. She started working with Alex Jordan in the design group Grapus and was a co-founder of the design collective Nous Travaillons Ensemble in 1991. Since 1993 when she started her studio, her internationally recognized work has been concerned with the public space and people. Clients include la Ville de Paris; le Ministère de la Culture; le Sénat; le Museé des Arts Décoratifs; l’Ermitage; Radio France; Arte; Le Monde; Larousse and several theatres. Among other prizes, she has won Gold at the Brno Biennale, 2002; Honorary Prize in Lahti, 2003; with Vincent Perrottet, Silver, Tehran Biennale, 2004; Grand Prix, Ningbo, China, 2004; and the Grand Prix, Golden Bee, Moscow, 2006. She was nominated for the Design Award of the Federal Republic of Germany in 2008. Her work features in publications and exhibitions worldwide. She actively participates in exhibitions,

conferences, international juries and is a professor at Geneva University of Art and Design and a member of AGI. ‘It has been an honour and very gratifying as a jury member in the Sappi Ideas that Matter programme to help to bring to life interesting and important design works and communications for the benefit of society. The amount of work sent in, its quality and commitment bear testimony to the necessity and importance of a unique foundation like this one. For the benefit of us all as partners to the designers, Sappi’s great idea truly matters.’


“Graphic design can help the messages of humanitarian causes to be clear and attractive” Alain Le Quernec was born in Brittany in 1944. The first painted image he remembers, aged 4, was a wall by Loupot. After secondary school in Lorient he studied in Paris, and taught himself poster design; his first poster was printed in 1962. He started teaching art in 1965. The May 1968 revolution made him realise the power of posters and in 1971 he took a year out to study at the Academy of Fine Arts in Warsaw with Professor Henryk Tomaszewski. Returning to Brittany, he continued poster design with very simple techniques, and exhibited at international events, including the Paris Poster Museum in 1987. He became a member of the AGI in 1990. His output remains social, political and cultural, while also developing various design interests in publishing. ‘Ideas that Matter is important. As students, designers create works for humanitarian


causes for competitions but it is purely theoretical, these works don’t really exist; they are not faced with reality. Sappi gives the opportunity to make them exist. Humanitarian causes don’t attract designers because they don’t really pay, which is a pity because graphic design can help the message to be clear and attractive. That is why I have supported Sappi Ideas that Matter since the beginning.’


“ITM allows young designers to contribute to society and causes they believe in” Since 1975, David Tartakover has run his own studio in Tel-Aviv, specializing in culture and politics. He is known for his posters dealing with the Israeli-Palestinian conflict. His work has won numerous international prizes, including Gold medal at the 8th Lathi Poster Biennial, Finland, 1989, and the Grand Prix, Moscow International Poster Biennial, 2004. His works are included in permanent collections of museums in Israel, China, Europe, Japan and the U.S.A. He collects and researches the history of Israeli design and is the curator of exhibitions at museums in Israel and abroad. Among the books he has published is a lexicon of the 1950's in Israel, Where We Were, What We Did (Keter Publishing, ISBN: 965-070581-3). David Tartakover has held one-man exhibitions in Israel, Argentina, Belgium, China, France, Germany, Greece, Japan, Poland, Russia and the U.S.A. He is the Israeli Prize Laureate, 2002, and a member of Alliance

Graphic International (AGI). ‘Whoever thought of this concept deserves a medal. It is a unique project that allows non-commercial organizations investing in important causes, to produce quality, effective visual communication. ITM allows young designers to contribute to causes they believe in and to contribute to society.’




ISABELLA WINTER, FRANK NEYENHUYS, CHRISTIANE FRAUENSTEIN AND ROBERT HILLER Frank Neyenhuys, born in 1960, studied communications at UDK, Berlin. He has worked as creative designer and copywriter for several agencies. He has been with W.A.F. for 20 years and is the Managing Director and Creative Director. Christine Frauenstein, born in 1975, studied graphic design in Hamburg. She has been Art Director at W.A.F. since 2000. Robert Hiller, 1980, is a digital media designer and a graphic designer at W.A.F. since 2000. Isabella Winter, born in 1963, studied marketing and communications at IMK, Berlin. Since 2000, she is a project manager at W.A.F.

The Anne Frank Centre presents the story of Anne Frank’s life with the aim of building a bridge between past and present. The underlying objective is to encourage young people to focus on issues such as exclusion, racism and discrimination, enabling them to take an active role in shaping democracy in our society. Visiting the Anne Frank House in Amsterdam, it is striking that the family’s hiding place is located in one of Amsterdam’s tourist areas. That is also true of the Berlin Anne Frank Centre: it is hidden away, although it is at Hackescher Markt – one of the main tourist attractions. The campaign is aiming to increase the number of visitors to the Anne Frank Centre. The idea is to guide tourists and local people who happen to be visiting Hackescher Markt to the Anne Frank Centre, by cooperating with shops and cafés in the neighbourhood. The advertising campaign is based on the concept of hiding; the media is as hidden as the family was and the Anne Frank Centre is. Posters pegged onto coat hangers, and posters sandwiched between sweatshirts in boutiques, paper doilies for saucers in cafés, paper shoe inserts and bookmarks with the ‘hidden’ theme will inform Hackescher Markt visitors that they are very close to the Anne Frank Centre. Campaign material Billboards, bookmarks, paper doilies, postcards, posters


Posters printed on Magno Satin 300g/m²

Paper doilies printed on Magno Satin 300g/m²

Postcards printed on Magno Satin 300g/m²


Posters printed on Magno Satin 350g/m²



VALÉRIE FRAIGNEAU AND EMILIE HUSSENOT In Senegal, over half the population cannot read or write, resulting in underdevelopment and high levels of poverty, disease and dependency. Created in 1995, ASAO is a non-profit organisation that does valuable work on the ground in Senegal, and is well known for its initiation and co-ordination of North-South projects that provide important exchanges between Paris and Senegal. ASAO also runs a shelter for homeless children in an old cinema in Dakar. The ‘Kids Empire’ as it is known, provides first aid, basic education and hope to some of Dakar’s 150,000 street children. Not wanting to create a campaign with an ‘European point of view’, Parisian freelance graphic designers, Emilie Hussenot and Valérie Fraigneau, decided to produce an interactive photographic report that allowed the illiterate people of Senegal to speak in their own words. Named Xam Xam (meaning ‘to know’ and ‘to pass on’ in Senegalese), they asked a range of participants the same question: ‘What would the ability to read and write mean to you?’ Armed with a pen and a page from a notebook, everybody was encouraged to express themselves in any way they chose, by word, picture or symbol. The inscriptions accompanied more than 40 portraits in a series of posters, striking in their simplicity. Then, in


November 2005, they exhibited the posters at a month-long event at the MJC des Hauts de Belleville in Paris. During that time, the exhibition set the tone for debates, the screening of documentaries and workshops to help French schoolchildren understand the challenges in Senegal. Posters and Senegalese bracelets were sold during the event to raise funds for the ASAO, specifically the ‘Kids Empire’ in Dakar. In addition to bringing the plight of illiterate Senegalese and the work of the ASAO into the spotlight, and raising much-needed funds, they were delighted to be able to inspire participants in their quest for literacy with a delivery of more than 10 kilograms of pens to Senegal. Campaign material Flyers, invitations, postcards, posters

Flyers printed on Magno Satin 350g/m²

Invitations printed on Magno Satin 300g/m²

Posters printed on Magno Satin 150g/m²



MONICA ZAFFINI, MASSIMILIANO PATRIGNANI Ma:design is a graphic design and integrated communication company, founded by Monica Zaffini and Massimiliano Patrignani. They are a young, dynamic, flexible, multitalented team of professional designers. Ma:design offers a complete range of services for communication and strategic design. They help their customers to reach their audience, advising them and monitoring the project from the planning to the completion stage. They plan and design advertising campaigns, exhibition displays, wayfinding and signage systems for private or public companies, such as museums, airports and libraries. They design logos, corporate identities, websites, posters, books and everything to do with communication. Ma:design has obtained many recognitions and awards. Its posters are collected in several public and private collections, and its project have been published in the most important graphic books and magazines.


Not many people would imagine that the handicapped and the stage would be an easy combination. Yet it is for exactly this reason that Handicap&Arte in Italy developed their revolutionary theatre programme. Active in the field of integrated social theatre since 1998, Handicap&Arte Italy holds annual workshops, seminars and conferences to help the disabled move beyond their limits, promoting equality of integration for the sake of diversity, and enhancing the creative potential of disabled people through performance on stage. Designers Monica Zaffini, Massimiliano Patrignani and copywriter Noemi Rinolfi at Ma:design in Pesaro, Italy, felt very strongly about reversing the negative attitude that generally accompanies the public perception of the handicapped. They also felt they could communicate Handicap&Arte’s belief that the limits experienced by the disabled are resources for the arts and that the arts are a resource to help the disabled to overcome their limits. In an effort to transform the subculture that goes against the handicapped and to turn it into a culture of diversity, they produced a campaign consisting of a series of posters showing able and disabled people together in highly emotional situations. The headlines asked the question ‘Who is the richest? Who is the poorest?’ The embarrassment of showing the handicap gives way to the certainty that to mix with ‘differently able’ people is to enrich the human condition, promoting an exchange of ideas, and encouraging contributions to the organisation. This was followed up with flyers, books, conferences and workshops, at which lively debate and a gradual changing of attitudes were evidence of the success of the campaign. Campaign material Books, envelopes, flyers, posters

Posters printed on Parade 90g/m²

Posters printed on Parade 90g/m²

Books printed on Presto Silk 150g/m²

Flyers printed on Presto Silk 150g/m²




TUNDE SHODERU ‘As a black male who grew up in an impoverished inner-city neighbourhood and witnessed first hand the education system’s lack of understanding and lack of belief in young black kids, I was heartened that an organization had not only recognized the problem but was actively doing something about it.’ This powerful statement is by Tunde Shoderu, designer of the campaign for the Stephen Lawrence Charitable Trust. The trust was set up following the brutal murder of a black teenager in 1992. The attack was racially motivated and his murderers, although identified, still walk free. The aim of the trust is to provide underprivileged youths with the kind of education that will arm them with the skills they need to make a real difference to their environment. A team from the Cambridge Education Board developed a range of exciting courses to offer them for this purpose, encouraging them to take an active role in improving their community. When working on this campaign, Tunde Shoderu felt it wasn’t enough just to create visuals explaining the aim of the trust. It was more important for


him to get to the very core of the problem. Why were the kids underachieving? Why were they uninterested? Why were they misunderstood? Shoderu explained, ‘I wanted to create a stylish look that was also timeless.’ The stories told by the visuals were all inspired by real-life situations: the pretty little girl who lives in constant fear; the boy surrounded by dark, overpowering buildings; and the girl who lives in an estate covered in offensive graffiti. The campaign was used in several presentations to corporate organisations to raise funds for the project. Campaign material Booklets, posters




ALAIN LE QUERNEC AND CAROLINA ROJAS Born in France in 1944, Alain Le Quernec is an art teacher and graphic designer who studied for a year with Professor Tomaszewski in Warsaw. He works on cultural, social and political projects as a press illustrator and a poster, press, editorial and web designer.

Campaign concept designer Alain Le Quernec conceived this campaign for the hospital in Quimper, Brittany, for which he had worked in the past. He had first suggested creating a campaign for breast cancer awareness but a team of gynaecologists suggested he research the theme of smoking and pregnancy instead. He hesitated at first, because, having designed a nationally and internationally acclaimed anti-smoking campaign about ten years previously, he did not want to establish tobacco as his trademark. Le Quernec explained, ‘The campaign is addressed to women in general, because an increasing number of them are smokers, and to adolescent girls, in particular when they start smoking, because they might become mothers one day. But it’s important they pay attention to contraception first.’ Contrary to popular belief, not all women stop smoking when they are pregnant. ‘I was convinced this was the case,’ he said, ‘but when I was researching for the campaign, I realised I was mistaken.’ The campaign, featuring posters and a booklet, used a different tone from the one used in most health related publications. ‘Their messages tend to be weak or lacking conviction. I think this is due in part to a lack of time, money and personal commitment from politicians and decisionmakers.’ While not expecting it to eradicate the phenomenon of women smoking during pregnancy, Alain Le Quernec hoped the campaign would encourage pregnant women to think twice before lighting up. The campaign consisted of a booklet and poster printed on HannoArt matt 170g/m², billboard posters printed on HannoArt matt 150g/m². Campaign material Billboards, booklets, posters


Billboards printed on HannoArt Matt 150g/m²

Booklets printed on HannoArt Matt 170g/m²



OLAF NEUMANN AND STEFAN KLEIN The North Rhine-Westphalian fire brigade numbers 125,000 members, of whom over 100,000 are involved on an honorary basis. These are men and women permanently ready to risk their lives without pay, volunteering out of conviction in addition to their regular jobs, knowing they could suffer personal injury or serious health problems in operations that are often dangerous. Designers Olaf Neumann and Stefan Klein chose to work with the fire brigade because they knew that children and adults die or are injured every year by fire through careless behaviour or ignorance, while at the same time there was no public finance set aside for the creation of educational material on the subject. ‘We wanted to raise public awareness; everyone should be conscious of the life-threatening dangers of fire,’ they said. The campaign showed a combination of photographs and short texts. The photos featured dolls and soft toys: colourful, likeable characters usually associated with the comfort and safety of childhood. However, the viewer could not ignore or fail to be disturbed by the fact that they had been melted or charred by fire. The copy consisted of everyday expressions and phrases, which also served to explain why the once reassuring teddy


bears or dolls were now scorched. For example, ‘Leon has been playing with fire,’ (Leon spielte mit dem Feuer) was to be taken quite literally: his burnt rabbit revealed why. The cards and posters were distributed to all the fire brigades in the North Rhine-Westphalia region in September, October and November 2003, and made available on request throughout Germany. The posters were also distributed in schools and public places. No such campaign had previously been produced in the region to highlight the fire brigade’s work. It was extremely well received by its members and continued to be used as public relations material. Campaign material Billboards, newspaper advertisements, postcards

Posters printed on Magno Pearl 170g/m²


Newspaper advertisements



CHRISTOPH BERBERMEIER Christoph Bebermeier studied Visual Communication at Dortmund College from 1996. He completed his studies and graduated in 2001. He gained his first professional experience at Meta Design and Neue Gestaltung. In 2002 Christoph Bebermeier became a freelance designer. In 2003 he founded the BÜRO WEISS Design Agency, with which he regularly fulfils numerous demanding and successful design projects for customers in the social and cultural arena. Among BÜRO WEISS customers are the Adolf Grimme Institute, Bauhaus Archiv Berlin, Deutsche Gesetzliche Unfallversicherung (German Compulsory Accident Insurance), the House of Brandenburg and Prussian History, Hellerau Festival Theatre, the Fritz Bauer Institute, Reporter ohne Grenzen (Reporters without Borders, the Robert Bosch Foundation, Shoa.de, the Brandenburg Memorial Foundation, German Hygiene Museum Foundation and Warentest (Merchandise-testing) Foundation. Much work done by BÜRO WEISS has achieved success in national and international design competitions (e.g. the Federal Republic of Germany’s design prize, Type Director’s Club New York, red dot award, iF communication design award, Josef-Binder-Award, 100 best posters etc) for their high conceptual and structural standards. Various items of work done by BÜRO WEISS agency have been accepted into the collections of posters at the German Historical Museum and Austrian National Library. Christoph Bebermeier teaches at various German design schools.


Using four different visuals, the campaign portrayed individuals who had demonstrated civil courage or were victims or perpetrators, living in and around the time of National Socialism. One poster showed the fate of Renia and David Kohn, a brother and sister, both murdered in Auschwitz in 1943. Another introduced Blanka Speier, a German Jew who fled to England in 1939, just before the war. Another one showed Irene Block, a woman who hid a Jewish acquaintance in her home in 1942. Finally, the viewer was confronted with a picture of Jürgen Stroop, who organised and led the systematic murders of the inhabitants of the Warsaw ghetto in 1942. The campaign copy, written in a sober, clinical tone, briefly described the history of the individuals, and aimed to arouse the viewer’s interest. The defining elements of the campaign were the historical photographs overprinted with silver ink. With this printing method and resulting visual effect, the subjects were visible depending on the angle at which the viewer stood in relation to the poster. Pedestrians and drivers received the impression of a flashback. To decode the poster, the viewer had to approach it. The motive of this campaign was the need to remember the darkest chapter in German history, and the necessity to stimulate interest in the work of the Fritz Bauer Institute. The Fritz Bauer Institute is the first German interdisciplinary centre for the study and documentation of the history and impact of the Holocaust. It was named after the former Hessian attorney general Fritz Bauer, a judicial reformer at the heart of the Auschwitz trials in Frankfurt. Fritz Bauer deemed that it was crucial to put Nazism on trial in order for German society to come to terms with its past. More than a research centre on the history of the Holocaust, the Institute is at the core of the scientific, academic and artistic debate over the Nazi policy of annihilation and its contemporary effects. Christoph Bebermeier had been working with the Fritz Bauer Institute for many years. He wanted this campaign to bring the public closer to this particular part of German history using a contemporary visual medium. Campaign material Billboards




HANNAH YELIN Brook is an organisation that aims to reduce the number of teenage pregnancies and the proliferation of sexually transmitted infections. They do this by providing information and advice to young people, enabling them to make informed choices about their sex life. Brook centres offer contraception, pregnancy testing, counselling, infection testing and treatment. Services offered are free, non-judgmental and confidential. Hannah Yelin and Phil Roberts are a creative team concerned about social issues, none more so than the danger and prevalence of sexually transmitted diseases among young people. As admirers of the work done by Brook, they applied their creative thinking and design skills to contribute to the work of the organisation. Their bold campaign began with the insight that young people feel they are always being told what to do. They hear ‘do this, don’t do that’ so often that they simply switch off. Messages that are for their own protection go unheeded and unnoticed. For the duo, a new and provocative way to engage and communicate with this age group was required. At first glance, the ‘Have Sex’ campaign appeared to be telling them the opposite of what they should be doing. The shock value of the headlines grabbed


attention and intrigued readers, inviting them to look deeper and read further, where it became apparent that they actually formed part of a very responsible message. Flyers, condom wallets and small concertina cards were stocked in Brook’s health centres. They were also distributed every week in bars, nightclubs, shops and colleges alongside flyers for youth culture events, making the medium as much part of the ethos of talking to young people on their own terms as the language used in the campaign. The impact of the campaign was assessed in two ways. The first was the quantitative increase in number of young people calling the Brook helpline for advice. Second was the qualitative feedback from Brook’s outreach workers as to the effectiveness of literature in helping them to connect with young people. Campaign material Beer coaster, billboards, concertina cards, condom wallets, flyers

Beer coasters printed on Bleached Pulpboard 500g/m²


Concertina cards printed on Magno Satin 250g/m²

Condom Wallets printed on Magno Satin 300g/m²

Flyers printed on Magno Satin 350g/m²



CHRISTOPH BERBERMEIER Christoph Bebermeier studied Visual Communication at Dortmund College from 1996. He completed his studies and graduated in 2001. He gained his first professional experience at Meta Design and Neue Gestaltung. In 2002 Christoph Bebermeier became a freelance designer. In 2003 he founded the BÜRO WEISS Design Agency, with which he regularly fulfils numerous demanding and successful design projects for customers in the social and cultural arena. Among BÜRO WEISS customers are the Adolf Grimme Institute, Bauhaus Archiv Berlin, Deutsche Gesetzliche Unfallversicherung (German Compulsory Accident Insurance), the House of Brandenburg and Prussian History, Hellerau Festival Theatre, the Fritz Bauer Institute, Reporter ohne Grenzen (Reporters without Borders, the Robert Bosch Foundation, Shoa.de, the Brandenburg Memorial Foundation, German Hygiene Museum Foundation and Warentest (Merchandise-testing) Foundation. Much work done by BÜRO WEISS has achieved success in national and international design competitions (e.g. the Federal Republic of Germany’s design prize, Type Director’s Club New York, red dot award, iF communication design award, Josef-Binder-Award, 100 best posters etc) for their high conceptual and structural standards. Various items of work done by BÜRO WEISS agency have been accepted into the collections of posters at the German Historical Museum and Austrian National Library. Christoph Bebermeier teaches at various German design schools.


Büro Weiss is a Berlin-based design bureau with a focus on cultural and political topics. The company is interested in and passionate about the challenge of applying modern design and media to keep historical and political issues at the forefront of peoples’ minds. In this respect, the bureau has much in common with Arbeitskreis Shoa.de. Shoa.de is a non-profit organisation founded in 1996 in the early days of the internet, by history students. The project has grown into an increasingly popular website about the Holocaust (Shoa) and the Third Reich. By providing well-researched historical information about the Holocaust, Shoa.de gives its visitors a sense of the essential connection between history and the moral choices they have to confront in their own lives. The site, which attracts more than 180,000 visitors every month, is maintained by a small group of unpaid civic action volunteers who do all the programming, editing, research and authoring. The organisation had previously received no public or private funding to further its admirable goals. The aim of the No Forgetting campaign was to ensure that the Holocaust is remembered forever. It achieved its objective in a most ingenious way. The central concept had to do with the presence and absence of historical information. Doublesided billboard posters, the primary medium of the campaign, displayed the slogan ‘No Forgetting Shoa.de’ in relatively small print. By day, the only thing visible on a seemingly blank poster was the web address on a mostly empty surface. As darkness fell the billboards lit up, revealing chilling reminders of the National Socialist era. Through the daily appearance and disappearance of the quotations, Berliners were regularly made aware of the danger of forgetting and disregarding history. The campaign, which ran from 9 December 2004 until Auschwitz Liberation day on 27 January 2005, received excellent media coverage. Arbeitskreis Shoa.de also reported a significant increase in visitors to its site. Several writers and individuals made contact, interested in participating in the project. Campaign material Billboards, leaflets, leporellos, postcards, posters, website


Leporellos printed on Magno Matt Classic 150g/m²

2004 > FAS AWARE UK // UK


BEN GOLIK AND CHRIS CATCHPOLE Chris Catchpole is currently executive Creative director at Domain, a London-based direct marketing agency. Previously, he had his own agency, catchpole&friends for three years, and worked at Harrison Troughton Wunderman as a Creative Director for four years, when they won more awards than any other agency in the UK. He lectures in the UK and across Europe on creativity, art direction and copywriting. He has his own blog and regularly contributes to industry magazines and websites.

Knocking back a quick drink or two during pregnancy can lead to a lifetime of suffering – a sobering thought if you are expecting a baby. At present, one in a thousand babies in the UK is born with brain damage caused by women consuming alcohol while pregnant. Known as Foetal Alcohol Syndrome, FAS is the biggest cause of non-genetic mental handicap in the western world. It is also 100% preventable. The problem is that so few mothers and fathers are aware of the dangers owing to the lack of information available. FAS Aware UK is a voluntary group that is trying to change this by informing the public that FAS can be avoided by simply not drinking while pregnant. A registered charity, FAS Aware UK had no government funding for 2004. Sappi’s Ideas that Matter grant was the organisation’s only opportunity to broadcast its extremely important message. Creators Chris Catchpole and Ben Golik came up with a multifaceted campaign featuring attention-grabbing visuals such as a tequila bottle with a foetus replacing the worm, and a baby scan that looks like a martini glass. Each item in the campaign graphically brought to life the consequences of drinking during pregnancy. A variety of media was used to get the message across, including black and white advertisements in national newspapers, backlit posters, taxi seat backs, backs of toilet doors and a direct mail piece. The knock-on effect of the campaign was remarkable. Leading national newspapers, The Guardian, The Independent and The Mirror gave the campaign widespread coverage, as did a regional radio station in the north west of England, the area where the highest incidence of underage pregnancies and the highest drinking rate per head occurs. FAS Aware UK is part of an international network of charities. The campaign has also been run in Australia, Canada, France, Germany, Holland, Ireland, Luxembourg, New Zealand, Poland, South Africa and the USA, albeit at a low level as funding is scarce worldwide. Campaign material Backlit posters, direct mail, newspaper print advertisements, taxi seat backs, toilet doors


Taxi seat backs

Direct mail

Toilet doors



ELISA CERRI, MAURIZIO SANTUCCI AND LICIA CERRI In the 1950s, a revolution in psychiatry led to an open door approach to the treatment of alcoholism. Based on the proposition that alcoholism is a social and lifestyle disorder and not a disease, sufferers were released from psychiatric institutions and other restrictive establishments to live with their families and to form clubs. These clubs would monitor their progress and help them deal with their problem on a daily basis. Their families too would be encouraged to help rather than exacerbate the problem, receiving ongoing training from the clubs, to help them monitor and assist alcoholic family members. Impressed with the ideals of the clubs and having heard of their growing success, freelance designers Elisa Cerri, Licia Cerri and Maurizio Santucci of Lucca in Italy, were determined to help. They soon realised that the success of the clubs depended on alcoholics joining and participating voluntarily. So they set out to design a campaign to make alcoholics aware of their addiction, and encourage them to buy into the idea of helping themselves through the network of more than 2,200 clubs across Italy. Highlighting the dangerous effects of alcoholism, such as driving under the influence, violent


behaviour and problems at work (the marks left by alcoholism), they developed a series of posters for use in schools, medical centres, pharmacies and public offices. Outdoor advertising was similarly powerful and evocative, designed to make the subjects become aware of the problems associated with the misuse of alcohol, and then to encourage them to contact ACAT clubs in order to control their problem. The campaign – hard-hitting, powerful and evocative as it was – became very popular in Lucca and had enough impact to significantly increase membership of clubs in the city. Campaign material Folders, pay-bill posters, posters

Posters printed on Magno Satin 135g/m²

Pay-bill Posters printed on Magno Satin 200g/m²

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MARIJE FRANSEN AND MARIEKE DONA MaMa design is a design agency comprising two designers: Marieke Dona and Marije Fransen. Both finished their studies at Eindhoven Design Academy in 1998. After gaining several years’ experience with various firms, they decided to continue working together permanently in 2007, trading as MaMa design. Since they were in a position to combine their skills, they were able to offer a wide range of design disciplines; from logos to shoes, from pictograms to patterns. In 2006, MaMa design became the only Dutch design agency to win the ‘Ideas that Matter’ award. This competition is organised every year by the paper manufacturers Sappi. In this way, MaMa design was able to create their campaign for ICM, the International Confederation of Midwives.


Every year, over 500,000 women die during pregnancy and birth. Most of these tragedies could be avoided if governments invested in efficient health care systems with qualified and skilled providers. In fact, it has been shown in many countries that investment in sound midwifery services can lead to a significant reduction in maternal deaths, prompting the World health report in 2006 to stress the need for a greater number of midwives in the world. The international Confederation of midwives (ICM) is a not-for-profit international organisation that represents midwives and the midwifery profession, and aims to improve the care available to mothers and newborns throughout the world. Graphic designers Marije Fransen and Marieke Dona of Mama design in Veldhoven and Tilburg in the Netherlands, agreed with ICM that branding, using an updated corporate identity, was an important first step in creating a positive image for the organisation, and in informing others outside the traditional circles of partners and collaborators of the importance of its work. They presented a logo showing ICM’s vision of the continuum of care provided universally by midwives. This includes the three most important phases in and around birth: pregnancy, birth itself, and postpartum care. They designed attractive and informative flyers and posters highlighting the ICM’s many activities, and foldable, adhesive printed flyers in the shape of stethoscopes, with contact details of midwives whom pregnant mothers could access. The enthusiastic reception the campaign received was a clear indication that the new image for ICM would help them fulfil their goal of strengthening the midwifery profession to provide the best care for mothers and babies throughout the world, thus reducing the tragedy of death and disability related to childbearing. Campaign material Business cards, compliment slips, flyers, paper stethoscopes, postcards, posters, writing paper

Posters printed on Magno Matt Classic 170g/m²

Flyers printed on Magno Matt Classic 115g/m²

Postcards printed on Magno Matt Classic 250g/m²

Compliment slips



CAROLINA ROJAS Carolina Rojas is a graphic designer, born in Bogota, Colombia in 1975. She studied graphic design at Universidad Nacional de Colombia. Her experience lies in editorial design for cultural and educational publications in Colombia. She has worked in France since 2002, in Alain Le Quernec’s studio, on cultural and social projects in editorial, poster and web design.

The consequences of teenage pregnancy can be devastating for a young woman. And as the teenagers concerned generally come from economically disadvantaged backgrounds, the effect of having a baby quite often makes a bad situation a great deal worse. Touched by the plight of mothers and their children in her city, Carolina Rojas – a communication director, designer and illustrator in Quimper, France – decided she could put her considerable talents to work. She chose to focus her efforts on the Cornouaille Hospital Planning Centre, a public institution that works to inform people about sexuality, contraceptive methods, pregnancy and abortion. She also selected the Planning Centre because it had the media channels needed to reach teenagers, and a steady stream of clients already relying on the confidential services they offer for advice. She decided to approach the issue candidly and directly. In each case, the main image she selected showed the subject matter of the campaign immediately, clearly and without ambiguity. And while the viewer could see at a glance what the campaign was about, the subject’s insistent cry for help – in a headline, repeated as graffiti – grips the reader. Different formats played different roles in the campaign, but all were very powerful and visible. The giant 3x4m posters were evident on billboards all around the city of Quimper and had an impact on the public from the first day. Smaller posters provided broader coverage outside and in the waiting rooms of medical centres. They were supported by a leaflet, which was used in waiting rooms and schools. The intense reaction and the extent of the awareness of both the issue surrounding teen pregnancy and the services offered by the Planning Centre were evident in the incredible media attention generated by the campaign, which was covered by the local press for a significant time. Campaign material Brochures, postcards, posters




GIULIA LANDINI, LAURA MANGANO AND PAOLA VERONESI Giulia Landini, Laura Mangano and Paola Veronesi obtained masters degrees in Communication Design, at Politecnico di Milano, in 2006, 2005 and 2008 respectively. They work as part of the creative team in the Italian agency Cacao Design based in Milan. They focus on graphic design, packaging and below the line advertising.


We really believed in the concept of the â&#x20AC;&#x2DC;No Luxury in Foodâ&#x20AC;&#x2122; campaign from the start, and were very happy to be able to present and develop such an interesting topic. Working with CUCI in the first phase of the project was very motivating and inspiring for us. We were able to work in complete freedom, and to present our project without any financial pressure or marketing strategies to follow; one of the rare cases of complete trust in our creativity and design. The production and distribution phase was a little harder to deal with. In particular, it was difficult to coordinate the different organizations and companies involved, like Commercio Alternativo, the Coop, and others in charge of the production and packaging of the rice. In the end, all the difficulties disappeared when we finally saw our finished packaging displayed in the Coop Supermarket. Unfortunately, due to organizational problems, there was a delay in the delivery of the rice and this influenced the scope of the advertising material. Posters and cards were displayed during the Christmas period, when there is an overload of information in the supermarkets. Despite this scheduling issue, the project drew overwhelming support from consumers and from CUCI and the Coop. The message was clear and the communication was conveyed effectively through the unconventional means of the packaging designed to diffuse an important message rather than promote the product itself. Campaign material Boxes, flyers, postcards, posters





SARAH BORIS Sarah Boris is a French graphic designer who was born in London. She studied in Paris, first at Olivier de Serres at Foundation level, and then at Estienne School of Art where she undertook a typography design course. She graduated in 2004 with an MA in Typo/Graphic Studies at London College of Printing, now known as LCC. Since then Sarah has worked for several arts organisations including the Royal Philharmonic Society and the Barbican, and she is currently the senior designer for the Institute of Contemporary Arts. Sarah is also the art director and design consultant for several charities and emerging arts initiatives on a freelance basis. She is currently working on several small gallery commissions as well on a self-initiated publication. Her work varies from pure graphics to photography and installations. She has won several awards in recent years as well as having work featured in magazines and publications recognizing her conceptual and design skills.


England’s Institute of Contemporary Arts (ICA) in London is one of the world’s most innovative and influential arts institutions. A registered charity established in 1947, the ICA hosts a variety of exhibitions, music, cinema, talks and live performances. Through its learning department, the ICA is involved with education projects that create opportunities for new audiences or people who wouldn’t usually have the opportunity to experience art. It holds special workshops and activities for adults with learning difficulties and students from disadvantaged backgrounds. Sarah Boris, an art director and designer at the ICA, thought that the organisation wasn’t getting the exposure it deserved, which meant that many people were losing out on the chance to engage with the arts. She decided to create a campaign in support of the learning department that would help them reach more people. Sarah’s approach was to create a vibrant campaign called ‘Show me’ that would raise awareness of the ICA’s learning department among a wide range of people. The campaign encouraged people to take an interest in art and culture, and presented the ICA as a place where everyone was welcome. ‘Show me’ encouraged creativity and the sharing of ideas. The design direction Sarah took was intended to convey friendliness and a sense of inclusion. Using print finishing like rounded corners on post cards and books achieved the soft, inviting sense that Sarah was after. Her use of attractive, highcontrast colours suggested that there were no restrictions on who could come and learn more about the arts. Campaign collateral was handed out on the street and at the launch of the ICA’s learning department. The ICA has used the materials for fundraising opportunities at high-profile events. Sarah also managed to secure space in a design magazine. The campaign advertised the existence of the ICA’s learning department, attracting more schools and potential sponsors. It also enabled the forging of new partnerships and reinforced existing relationships. Campaign material Books, box, envelopes, leaflets, postcards, stickers, posters

Postcards printed on Magno Matt Classic 400g/m²


Signage posters



ALEXANDRA BALD, ANA LESSING AND ESRA ROTTHOFF Alexandra Bald, Ana Lessing and Esra Rotthoff met at Berlinâ&#x20AC;&#x2122;s University of the Arts when they started their studies. Together they created their award winning magazine Berlin Haushoch. This year they officially opened their Berlin-based design studio Haushoch.

Skateistan is Afghanistanâ&#x20AC;&#x2122;s first co-educational skateboarding school, established in 2007, offering free skateboarding classes to young people between 5 and 17 from all ethnic and socioeconomic backgrounds in Kabul. Its aim is to build cross-cultural communication and understanding between different Afghan ethnicities and international volunteers in a fun, educational and positive environment. The programme teaches students skateboarding, computing, English literacy and life skills. Experts in skateboarding, Afghan culture, youth development and the arts teach classes and provide community demonstrations. Peripatetic skateboarding classes have been developed to offer new opportunities in physical education for schools, orphanages and youth organizations. Under the Taliban regime, girls were not allowed to play outside or practice sports in public. Girls especially enjoy skateboarding in Kabul: 80 % of Afghan skateboarders are female. The skateboard is a brand new object in Afghan life with no prejudices attached to it, there is even no Afghan word for skateboard. Skateistan wants to create a brand name and explain what it stands for. With the help of donors, it hopes to build a successful youth development model that can be adopted in other war torn cities, offering similar recreational and empowerment opportunities to a large number of children. Designers Alexandra Bald, Ana Lessing and Esra Rotthoff want to communicate this positive aspect of Skateistan using beautiful images of girls and boys smiling and having fun while skateboarding. Contrasting the aesthetic look of the full printed photographs we used strong black typography on the posters/postcards; featuring positive quotations from the children. Our intention is to popularise the Skateistan project, and to build a positive image of Afghan youth in the international community, showing their will to improve their skills in sport and living together. The growing popularity of Skateistan brings financial support, which leads to concrete advancement in the construction site of an indoor skate hall in Kabul, and work for Afghan people. Campaign material Postcards, posters, stickers




EMMI SALONEN Emmi is a graphic design practice based in a converted gun factory in East London. Set up by Emmi Salonen in 2005, the studio specializes in designs for the arts, culture, commerce, academia and organisations, using environmentally sound solutions whenever possible. Emmi Salonen is originally from Finland. After studying graphic design in Brighton, where she graduated in 2001, she moved to Italy to work at Fabrica, Benetton’s controversial but prestigious studio for young designers. Emmi went on to gain further professional experience in London and New York, where she worked with Karlssonwilker. In 2005 she returned to London to set up her own practice. As well as designing, Emmi is a tutor at Ravensbourne College of Design and Communication and lectures regularly.

Children & the Arts is a national educational charity that helps children experience the arts. Our mission is to inspire and educate children by introducing them to the very best of the Arts. We believe that engaging with the Arts enriches young people’s lives, nurtures creativity and improves children’s self-esteem and skills. We help young people who would otherwise grow up having had no, or very limited opportunity to engage with the Arts. We work closely with local and national arts providers (like theatres, orchestras, museums and galleries) and selected schools, and crate partnerships for them. Schools and arts organisations work together, supported by Children & the Arts, to create a programme for children to visit and take part in cultural events. The Prince’s foundation for Children & the Arts has helped almost 75,000 children since the charity was launched in 2006, in response to a lack of teacher training in how to incorporate and teach the Arts in school, especially at primary school level. A Catalyst day starts with an introductory talk by a guest speaker, followed by a series of interactive workshops, each themed on a different art from. So far, these have included story telling, movement/dance, poetry, music and visual arts. Each participant takes the 120-page Catalyst resource book away with them, containing 60 ideas and teaching activities for arts-based work in the classroom. Catalyst days help participants to understand the importance of the Arts within a learning environment and feel confident about going back to the classroom and including the arts within their day-to-day teaching practice. They help them to develop an enthusiasm for the arts, develop more skills in forms in which they have little experience, learn how to source and work with creative practitioners beyond the training day, and understand the work of Children & the Arts. The Sappi Grant will enable Children & the Arts to put in place a competent marketing campaign for the launch of this three-year project and allow the charity to reach out to a wider group of teachers and schools who do not normally have the opportunity to access professional arts training, such as schools in deprived areas. Campaign material Leaflets, notebooks, posters, website







JULIEN CARLIER AND LAURENT SICK Julien Cartier, 46 rue Bartholdi 68000 Colmar. 2003-2009 freelance graphic designer in Colmar. 2003 Masters Degree in Graphic Communication, École des Beaux-arts, Besançon; 1997-98 La Manufacture, Communications Culturelles, Colmar Art Studio; Seasonal Programmes 2006-07, 2007-08 and 2008-09 at the Cultural Exchange Centre in Sélestat, (APEI Centre-Alsace) Motion design: production of an animated presentation promoting the city of Strasbourg. Workshop leader: 2001 ‘Passage en images’, a course with Jean-Marc Brétegnier, Besançon; 2003 drawing course for children aged 8 to 12, Megève; 2006 drawing workshops, Colmar. Competitions and Exhibitions: 2004 ‘Travaïe’ posters, selected for exhibition at the 9th Triennale Internationale d’Affiches Politiques de Mons; 2007 ‘Vox Populi’ poster selected for exhibition at the 10th Triennale Internationale d’Affiches Politiques de Mons; 2009 ‘Let Them Grow’ poster selected for the Good 50x70 project, exhibited in Milan. www.les-acolytes.com


ESTAT- l’Evasion, the Institute for Support through Cultural Work, formed in 2004 by the APEI in central Alsace, is founded on the conviction that artistic expression and cultural exchange are the best means of helping people to reach their goals, blossom as individuals, integrate into the community and become genuinely professional artists. They have developed high quality exhibitions with their own theatre/gallery and recently organised an important festival of culture and disability (Charivari). The message is to proclaim the difference of disability and promote its rich possibilities, rather than be resigned to it or hide it. Acolytes, who designed the campaign, were aware of a lack of discussion about disability in society. They suggested to the artists of ESAT- l’Evasion that they should express their own opinions in the context of a workshop. As a result of 70 hours work in the studio, each disabled artist has created a poster talking about his own life. These words bring everyone face to face with the experience of disability. The posters also present a different mode of expression in relation to art and culture. It is this alternative vision that the communication campaign will promote, challenging the viewers and initiating a discussion about handicap. How do we look at disabled people? Do we really know their interests? What if theirs were the same as mine? Who can be sure never to face handicap directly or through a close relative? These questions are too often avoided because they are disturbing. Speaking through posters, the disabled artists effectively and poetically ask people to change their way of seeing them, using personal messages and universal themes. The posters show another way of considering handicap, and everyone can identify with at least one aspect of this campaign. The voice of disabled people will be conveyed to the public through the advertising and the shows and exhibitions at the Espace d’Echanges Culturels. A greater awareness of the creative activities of ESAT l’Evasion will allow the venue to expand its programme, organize tours, and offer new projects more easily. Campaign material Events, exhibitions, posters




STEFANO PALLAVISINI, DANIELE VARELLI AND LAURA MORANDINI The advertising campaign, Water: A Natural Right for All (L’acqua: un diritto naturale di tutti), was commissioned by the Centro di Volontariato Internazionale of Udine in December 2000 as part of the national campaign, Water: A Universal Resource (Acqua: bene comune dell’umanità), and carried out with the support of the Italian Ministry of Foreign Affairs. The aim of the campaign was to increase public awareness of the value of water and the implications of the tendency towards privatisation of this natural resource. It also aimed to support International Water Days and the International Manifesto for a Global Water Contract, an ongoing campaign on water use and access. Stefano Pallavisini and Laura Morandini have worked closely with Ce.V.I. for several years and have been engaged in numerous other campaigns in the voluntary sector, individually and as a team. Despite the damage that can result from lack of water access, the campaign’s images were essentially positive. Stefano Pallavisini and his team chose to use powerful ideas and


images and to express them clearly and simply. At the same time, they wanted to highlight existing water–related problems and to stress the urgency with which they need to be addressed. They achieved this by juxtaposing the striking impact of black and white with the immediacy and vibrancy of orange. These colours were used for all the campaign materials (advertising posters, educational tools and audiovisual support). The campaign achieved widespread coverage and had a significant impact at a national level. This was realised by means of traditional media channels (press, television, poster campaigns, etc), and through numerous conferences, meetings and workshops, culminating in World Water Day. Campaign material Audiovisual support, brochures, leaflets, postcards, posters

Posters printed on Uni Matt 170g/m²

Postcards printed on Uni Matt 250g/m²

Package of box with CD’s, postcards, leaflets and books

Leaflets printed on Uni Matt 150g/m²



LENNIE DE TROYER Protos is a Belgian non-governmental organisation dedicated to the provision of safe drinking water, the promotion of hygiene, water sanitation and its use for agricultural purposes. Based on its experience with water issues, Protos works towards worldwide equitable, sustainable and participative water management. Since 1977 Protos has encouraged underprivileged populations to manage their water resources and take the first steps towards their development. Burundi, Congo, Mali, Ecuador and Rwanda are just some of the countries where Protos and its partners operate. In developed countries we naturally expect clean drinking water to flow out of our taps on demand. Unfortunately, this is not the case for most people in other parts of the world. ‘I asked myself in what ways I was using drinking water other than drinking it,’ says Lennie De Troyer, the campaign’s designer. ‘It turns out I cook, shower, clean, use a washing machine and wash my hands with drinking water. That’s just not acceptable. We have to be made aware of the water we waste by measuring it with the imaginary cups we could fill and give away.’ For instance, flushing the toilet is equivalent to 30 cups of drinking water


you could hand out to as many people. Through this campaign, Lennie De Troyer wanted to encourage people to think about the consequences of our wastefulness. She suggested a few simple solutions to minimise the waste of this precious resource. One of them is to turn off the tap while lathering your hands with soap; turning it off while brushing your teeth is another. An alternative to the litres of drinking water we use in the washing machine or toilet is to use rainwater. ‘This system is relatively easy to install,’ says De Troyer. Studies show that it is clear we will not be able to waste water endlessly; it is not an unlimited resource. ‘My friends and acquaintances have already started applying the measures that were described in the campaign. If everyone who came across the posters or postcards follows suit, we’ll win the battle’. Campaign material Doorhanger flyers, postcards, posters

Posters printed on Magno Satin 135g/m²

Doorhanger flyers printed on Presto Silk 300g/m²

Postcards printed on Presto Silk 300g/m²



ALMA HRASNICA Alma Hrasnica graduated in Graphic design from the Academy of Fine Arts in 1992. She is a member of the Association of Artist of Bosnia Herzegovina, and has participated in the Salon exhibition every year since 1998, with ‘Clean up!’ as her entry in 2006. She is recognised by the Ministry of culture and sport of Sarajevo as a freelance artist. In 2005, she founded the NGO, Green Art, whose main objectives are to promote quality of life and a healthy environment through the arts. The NGO allows her creative freedom to design create and implement projects. Since 2005, most of the major projects she has worked on through Green Art are social, her favourite one being for children with special needs. It is both an art / eco workshop, and an exhibition of works that have been created at the workshop. She is also a registered designer for UNHCR.

With the continuing deterioration of the environment and our natural resources, more and more young people are speaking out passionately about a problem that will have dire implications for the next generation. Ekotim is an NGO established in 2002 by a group of like-minded university students in Bosnia Herzegovina. Dedicated to educating and changing the public’s understanding of the importance of protecting nature and the environment, its staff and supporters are people with great determination and commitment. One such determined supporter is Alma Hrasnica, a freelance academic graphic designer living in the city of Sarajevo. Appalled by the destruction of the environment in her country, she saw her relationship with Ekotim as the ideal opportunity to send a strong message to mobilise the public behind preservation of the environment and conservation of the natural resources that are becoming increasingly scarce in Europe. Wanting to create a campaign with a visually strong message to stress the consequences of the public not acting to change the deteriorating situation, she showed people in ravaged environments with signs showing ‘Waste Water’ and ‘Landfill’ warnings. The message ‘Quality of life means a healthy environment. Clean up!’ provided the call to action for people to clean up their mess before it is too late. An extensive campaign, covering billboards, posters, newspaper advertisements, TV and radio commercials, flyers and postcards, ensured that the campaign was prominent enough for all to see. The reaction was so strong and so motivating that Alma was invited several times to discuss the campaign and the debate it provoked on local radio stations. She was even asked to implement the ‘Clean up!’ campaign in other parts of the country. As a result of growing support, Alma was inspired to create a second NGO, called Green Art, dedicated to achieving the same aims through art. Campaign material Billboards, citylights, flyers, postcards, posters





ANTOINE OLIVIER AND MÉLANIE BOURGOIN Antoine Olivier was born in France in 1973. After graduating from the School of Industrial Design in Montreal in 1998, he worked as a product and graphic designer for numerous companies and agencies, in France and abroad. Since 2003, he has been working independently as a designer on various projects including publishing, posters, visual identity, signage, exhibitions, furniture and photography. He divides his time between France and Brazil. Mélanie Bourgoin was born in France in 1976. After graduating from the Reims Ecole Supérieure d’Art et de Design in 2000, she started work in 2001 as a graphic designer in a small agency in Paris. Since 2008, she has worked freelance on various projects including visual identity, publishing (books, brochures and magazines), posters, signage and graphic design for music labels.


Very often, submissions to Ideas that Matter are on behalf of local charities, organisations that are not only close to the hearts of the designers who support them, but also geographically near. But Nordesta Education and Reforestation of Geneva, and freelance graphic designers Mélanie Bourgoin and Antoine Olivier of Paris are very different. For them, the phenomenon of deforestation in Brazil is a global phenomenon. Nordesta Education and Reforestation was founded in Geneva over 20 years ago. Its aims are very practical and active: to preserve the tropical rainforests and improve the standard of living of the rural people of Brazil who live in them. In their experience, the undertaking that meets both these needs is reforestation. Reforestation starts to put back what logging and development has taken away. And, just as important, it gives the local people a sense that they are reclaiming their heritage, their habitat and their way of life. For Mélanie Bourgoin and Antoine Olivier, the challenge was to communicate this sense of optimism and demonstrate the positive effects of reforestation rather than dwell on the negatives of deforestation; to show sponsors and the public at large that reforestation is working; to convince them that planting just one tree can make an immense difference. And so their book was born. Described by the designers as a ‘travel diary’, it chronicles their travels from one village in the rainforests to another, using photographs taken on location and transcripts of exchanges with the inhabitants. The human perspective continues in a series of postcards. As with the book, Nordesta’s involvement is shown with empathy and sensitivity, giving the charity added credibility and making their work truly part of the fabric of the societies they support. Campaign material Books, bus shelter advertisements, posters

Posters printed on Magno Satin 170g/m²

Books printed on Magno Satin 300g/m² and Magno Ivory 150g/m²

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CAROLINE VERMAERKEN, BEN VAN ASBROEK AND PETER FOUBERT Carolien Vermaerken works in Gent as Art Director at DUBOISmeetsFUGGER since 2006, and previously at such prestigious companies as Saatchi & Saatchi. She has carried out projects for A&T, Amnesty International, Ariel, Babybell, Head & Shoulders, IKEA, JBC, Red Bull, Thomas Cook and Unesco, to name but a few. She has won many awards, including the Silver Brand Activation 2005, Effie, CCB 2006 Silver, Triple A, Sappi, Montreux, Epica, Cresta International Advertising, Mobius, and Peter Foubert awards. She has also worked as a senior copywriter at DUBOISmeetsFUGGER and De Kie Communications, and a radio producer with Banana Radio.

What will it take to make people think about climate change? There are plenty of rational arguments and informative television programmes, and many websites cover the subject in great detail, with specialist reports and projections. But a team of Belgian designers thought a new pair of shoes would be more likely to get through to people. Caroline Vermaerken, Ben Van Asbroeck and Peter Foubert of Dubois meets Fugger in Antwerp, Belgium, decided that dramatic action was required to get the work of their client, UNESCO, into the public consciousness. UNESCO Flanders, dedicated to many causes in the Dutch-speaking region of Belgium, has spent much time over several years investigating and publishing data relating to the imminence and extent of climate change and the rise in water levels, and conducting a thorough study into the implications for Flanders. But it seemed to be a topic in which people expressed little interest, or deliberately avoided. They desperately needed to communicate the information before it was too late, and turned to the team at Dubois meets Fugger. Their approach was to break into people’s world with a campaign that looked more like a fashion promotion than a public service appeal. A new pair of shoes, part flipper and part high fashion stiletto, appeared in stylish brochures, flyers, posters and adverts in the fashion magazine ‘Flair Vlaanderen’, and proved to be just the right image to appeal to consumers who would otherwise have turned away. UNESCO was extremely pleased with the campaign that achieved the breakthrough they needed. Faced with shocking information on climate change where they least expected it, the people of Flanders could now set to work doing something about it. Campaign material Advertisements, brochures, flyers, posters



2007 > SEA RENUE // UK


MARIE BENSTEAD Marie Benstead has 15 years experience in the design industry for a diverse range of clients. She has worked her way up to achieve two full-time Head of Design roles for Still Waters Run Deep and Hype! She has worked as a freelance designer for top design agencies such as Euro RSCG Fuel, Brand Instinct, 999 Design, The Wellcome Trust, Publicis and Innocence. She is now Director of Eve Design Limited, which she launched in 2007. Marie’s mandate is to create brands that get noticed and get results. She always strives to achieve a high level of design excellence and has a passion for client satisfaction. She specialises in name and brand creation, corporate identity, advertising, new media, marketing campaigns, direct mail and exhibition design, combining original strategic thinking with design craftsmanship, resulting in compelling and effective communications that function across all media.

SEA Renue urgently needed help to tell their audience how to address problems relating to climate change and how a reduction in carbon emissions could be achieved. They also needed to communicate a name change. Believing that communications play a vital role in the ongoing challenge of raising awareness of climate change, Marie Benstead of Eve Design in London resolved to help. She was aware of SEA Renue’s extensive skills and experience in the area of carbon emissions reduction, and she was also aware that they had very limited resources with which to approach their audience. What she proposed was a set of marketing materials to position them as experts in their field and to communicate and explain to clients why they should use their services to help achieve a sustainable future for London. The idea underpinning her thinking was ‘Think Climate, Talk Sustainability, Take Action’. It was a concept to challenge the audience to do more than just think about climate change, but rather to talk about these issues and identify how they can act now and make a positive contribution. She channelled this idea into a ‘coffee table book’ brochure containing engaging environmental facts, deliberately thought provoking and designed to stimulate discussion on the very complex issue of climate change. She designed each spread with distinctive illustrations to reflect the content, clearly communicating SEA Renue’s range of services and announcing the name change. The main target audience was identified as large government bodies, local authorities in London and nationwide, private businesses, other third-sector organisations such as not-for-profit organisations and charities, community groups and schools. Each one would be addressed by different elements of the campaign when SEA Renue re-launched under the name Carbon Descent in June 2008. New name aside, Carbon Descent hoped that the campaign would achieve a change in awareness of the organisation in particular, and of issues surrounding climate change in general. Campaign material Brochures, direct mail, posters


Brochures printed on HannoArt Silk 350g/m² and 170g/m²

Brochures printed on HannoArt Silk 350g/m² and 170g/m²



PATRICK CARDE AND FRANÇOIS CANARD I am grafic designer for 20 years - I studied at the University of Quebec at Montreal in the department of grafic design (UQAM) - I work mainly in the cultural and social areas. It is in these areas that I find contracts in accordance with my values and my way of doing graphics

With the decrease in fossil fuels, the impact of pollution and the threat of global warming, the time of the bicycle has truly arrived. It makes sense. After all, they are reliable, cheap and very friendly to the environment. Bicycles travel faster than cars in inner-city traffic, we don’t need to construct huge multi-storey parking lots in which to store them, and they don’t need fuel to work. Bicycles are the only totally green vehicle available and yet they represent just 3% of urban transport in France, with similar figures in other first-world cities. La Boîte à Outils thought that this was a state of affairs that needed addressing. They are an organisation of people with a sense of social responsibility, who wish to encourage cultural dialogue and exchange. Independent graphic designer Patrick Carde, based in Toulouse, developed a campaign for La Boîte à Outils called ‘À vélo citoyens!’ He had already embarked on it before finding out about Ideas that Matter a few months later. Patrick’s objective was to promote the use of bicycles in cities and towns across France. In a wider sense, the intention of the campaign was to bring about a change in transport culture and how people think about getting from place to place. The success of the campaign rested on being able to make the idea of using a bicycle everyday a compelling one. With photographer François Canard, Patrick turned to the people who already use bicycles and got them to make the point themselves. The first phase of the campaign therefore meant using a mobile photo studio to take pictures of about 200 bike riders on the road. The second phase involved the publication of a 112-page book of the photography, along with a travelling exhibition of 20 posters. The campaign has hit the streets of Toulouse, Lille, Marseille, and beyond. Bookstores in cities from Montréal to Brussels stock the ‘À vélo citoyens!’ book, and the campaign is now also online at velocitoyen.org Campaign material Books, brochures, postcards, posters, stickers, website




ANTOINE OLIVIER Antoine Olivier was born in France in 1973. After graduating from the School of Industrial Design in Montreal in 1998, he worked as a product and graphic designer for numerous companies and agencies, in France and abroad. Since 2003, he has been working independently as a designer on various projects including publishing, posters, visual identity, signage, exhibitions, furniture and photography. He divides his time between France and Brazil.

The organisation, Autres Brésils, was founded in 2002 as an information resource with the aim of introducing a French speaking audience to the multitude of innovative social and environmental experiments taking place in Brazil and to examine the issues that affect not just Brazilian society, but also France and the rest of Europe. Through a series of mobile exhibitions, a festival of documentaries and a website, the organisation seeks to showcase the work of a variety of Brazilian groups and associations. Antoine Olivier has chosen photography as the principal means of communication, as the most simple, effective and direct way of grabbing the public’s attention and witnessing the lives of the keepers of the Amazon who are vital to the protection of this endangered area. The campaign aims to illustrate how the people of the Amazon live and go about protecting their environment. It reports from different areas of the Amazon, focusing on the work carried out by various local organisations and cooperatives, and depicting the lives of the men and women who inhabit and work in the rainforest, such as rubber harvesters, açai and guarana pickers, and Brazil nut breakers. The campaign consists of a photography exhibition, an accompanying book, a poster, and a series of postcards The exhibition is mobile, in order to be able to reach as wide and varied an audience as possible. The book contains all the photographs from the exhibition and presents a brief history of the places visited. It is a tangible communication tool for the Autres Brésils organisation, helping to introduce and promote it. The campaign will target a wide audience, with the aim of bringing the work of the Autres Brésils organisation to as many people as possible and encouraging future contributors and sponsors by giving them a moving and powerful picture of the important educational work carried out by the organisation. The objective of the campaign is to raise awareness of the need to protect the Amazon rainforest. Autres Brésils also offers a substantial online resource and a monthly e-newsletter. Campaign material Book, photography exhibition, postcards, posters








OLAF MÜHLMANN AND BLANCHE RUBINI Blanche Rubini graduated in visual communication from the Parisian École Nationale Supérieure des Arts Décoratifs. She also studied in the Central Saint Martins College of Art and Design in London, thanks to the Erasmus European Programme of Exchange. Olaf Mühlmann is German, graduated in visual communication from Dortmund’s Fachhochschule. In 1994, thanks to Erasmus, he came to study in the École Nationale Supérieure des Arts Décoratifs in Paris. Since 1998, they have run their own company in which they work in strong partnership with their clients.


The campaign is aimed at promoting a charity called France Alzheimer et Maladies Apparentées based in Paris. It is a national organisation for families, whose aims are to inform and help the families of Alzheimer’s patients and people affected by other similar cerebral deterioration; to enhance the quality of life for all patients and relatives; to break down the isolation of the families concerned; to lobby politicians to make them aware of the specific type of dependence this illness creates; and to promote scientific research. France Alzheimer offers its members various types of help to achieve this, such as a quarterly newsletter France Alzheimer Contact; information about the illness, what benefits are available, how to get help at home; respite centres; lectures and audio/video tapes about Alzheimer’s and how people’s lives are affected by it. It employs a permanent staff of specialised workers and a network of more than 120 local offices all over France employing volunteers, psychologists, social workers, etc. France Alzheimer only has a small budget at its disposal, which it prefers to use to help families and patients directly. Founded in 1985, this small charity never previously had the means to launch a public awareness campaign or influence politicians. The objective of the campaign was to be a voice for the sufferers and to make people aware of Alzheimer’s disease, which is a serious problem for individual families and society as a whole. Campaign material Booklets, postcards, posters

Booklets printed on HannoArt Silk 115g/m²

Posters printed on HannoArt Silk 135g/m²



TIM WANDSCHNEIDER, JAN SPRENGEL AND HELGE HANSEN Tim Wandschneider, 33, designer, employee in an advertising agency, Wandschneider & Bartsch, Unna. Jan Sprengel, 33, designer, self-employed. Helge Hansen, 38, designer, CEO Hakatowi, Berlin.

You have heard of Doctors without Borders, but these same doctors are helpless if they are also without medicine. The campaign, designed by Helge Hansen, Tim Wandschneider and Jan Sprengel during the 6th term of their Communications and Design studies, evokes this dramatic lack of medical supplies in developing countries. The visuals they created depict everyday objects with a key element missing, rendering them ineffective. So a doctor without medicine is like a coat hanger without a hook. Doctors worldwide are increasingly concerned that they cannot administer basic treatments to needy populations because of overpriced drugs. Yet an international trade agreement regulates the protection of branded medicines whereby pharmaceutical manufacturers themselves are allowed to fix the price of their products. The aim is to awaken public opinion to this problem. Politicians and the pharmaceutical industry need to be responsive to the urgency of the situation. Poorer countries can no longer afford efficient drugs, instead they turn to cheaper medicines, which are often out of date or have dangerous side effects. ‘Doctors without Medicine’ is addressed to each one of us and can be understood throughout the world thanks to the universal message it conveys. Every year, 17 million people die of treatable infectious diseases, while epidemics like tuberculosis, malaria and sleeping sickness are spreading once more. Campaign material Adverts, billboards, posters




MARTA JOSA FRESNON Marta Josa Fresnon was born in Barcelona in 1974. She is a graphic designer specialising in corporate identity, publicity, publishing, communication, packaging, typography & edition systems, typesetting, computer graphics, multimedia & website, photography, cinema & video. She obtained a degree in Graphic Design from ESDI Design School, Ramon Llull University, and won the international competition Output Calls For Input conducted by the German Design Council’s Prevention Campaign for Native Communities in 1989. In 1999, she won the ESDI Design School Alumni Association Competition and worked as a freelance for a humanitarian magazine. She won the Sappi Ideas that Matter award 2001 for a campaign to raise finance for Health Education and prevention of STD & AIDS. She has spoken at Elisava University on third world projects. She has designed graphic materials for Red Cross Internacional Day and for COPCA’s International Week. She has also worked for COCAT (Coordination Platform of Workamp Organizers of Catalonia), and Intermón Oxfam.


The Red Cross is a charity dedicated to development in underprivileged countries and communities. The Red Cross had been involved in the building of a school in Tálag, a small village in Ecuador. It was also looking to launch an informational campaign on the prevention of Aids and Sexually Transmitted Diseases (STD), but the graphic material was lacking. Designer Marta Josa Fresno had designed a project on this subject and the two were naturally led to collaborate. ‘In order to create the campaign, I first had to analyse several aspects of Ecuador; I learned about the STDs most common to the area, I studied the level of literacy in rural Latin American communities and I examined the country’s culture as a whole,’ says Marta Josa Fresno. With this information in mind, she was able to select the most suitable graphic material for a campaign aimed at a developing country. She was also able to determine what kind of visual language would reach the Tálag community most effectively. The villagers were to learn about the nature of STDs, and how to avoid contracting them. The campaign, carried out in Spanish and Kichwa, has sparse text and large, simple, direct visuals, which are very colourful, in keeping with the local culture. The pictograms were given Ecuadorian features like those in traditional paintings or artefacts so that Tálag’s villagers could easily identify them. As a professional graphic designer, Marta Josa Fresno is passionate about the discovery of other cultures and the creation of new forms of expression. She sees graphic design as a tool contributing to a better life. Campaign material Manuals, postcards, showcards

Manuals printed on Magno Matt 150g/m²



BLANCHE RUBINI AND OLAF MÜHLMANN Blanche Rubini graduated in visual communication from the Parisian École Nationale Supérieure des Arts Décoratifs. She also studied in the Central Saint Martins College of Art and Design in London, thanks to the Erasmus European Programme of Exchange. Olaf Mühlmann is German, graduated in visual communication from Dortmund’s Fachhochschule. In 1994, thanks to Erasmus, he came to study in the École Nationale Supérieure des Arts Décoratifs in Paris. Since 1998, they have run their own company in which they work in strong partnership witht heir clients.

Although it is affecting more and more people throughout the world, Alzheimer’s disease still remains relatively unknown and misunderstood. The Association France Alzheimer et Maladies Apparantées helps Alzheimer’s patients and their families to cope with the disease on a daily basis and also acts as an information centre. Blanche Rubini and Olaf Mühlmann from Les Graphistes Rübimann have been working with the Association since 2000. This year’s campaign is in fact the continuation of ‘What is Alzheimer’s?’ a recent beneficiary of the Sappi Ideas that Matter award. For this second campaign, Blanche Rubini and Olaf Mühlmann wanted to raise the awareness of doctors especially, because they appeared unfamiliar with the support the Association can provide their patients in addition to standard medical treatment. They also sought to influence local decision-makers to communicate information more widely about Alzheimer’s disease and increase research funding. ‘We wanted to show the everyday lives of several patients. That is why we collaborated with photographer André Lejarre, whose work has often reflected social issues. We wanted to present the disease with respect and dignity. We used a minimalist design, concise typography and muted colours’. Some members of the Association had reservations about the first project ‘What is Alzheimer’s?’ initially, but its popularity grew so much with time that the campaign had to be reprinted. ‘We have been able to introduce people to the reality of Alzheimer’s through our graphic design, and that’s a great achievement for us’, say the designers. The campaign comprises an information leaflet for doctors’ surgeries, a box containing 24 photographs, a poster and a book for future educational Alzheimer’s presentations. Blanche Rubini and Olaf Mühlmann are ‘tired of the pretty but meaningless artificial images’ filling up our visual space. They use graphic design as a means to impart intelligence to the images they use. Campaign material Books, box with 24 photos, leaflets, posters


Posters printed on HannoArt Silk 115g/m²

Leaflets printed on HannoArt Silk 170g/m²



ASTRID HAUSBERGER, NICOLE WEBER, CLAUDIA STIPLOSEK, BERND GACKSCH, MICHAEL ZECHNER, WOLFGANG SCHMETTERER AND ROBERT ROTHSCHÄDL Born 1 November 1964 at Graz. Founding of RoRo+Zec advertising agency in 1990 together with Michael Zechner. Since that time, the CAAA-certified agency (Certified Austrian Advertising Agency) has hired seven staff. Customers of the Full-Service agency include Land Steiermark, many institutions and companies in the social, youth and health services, as well as private companies. Through his agency work, Robert Rothschädl is engaged as a tutor at the Steiermark Career-Development Institute (bfi) and at the Economic Development Institute (Wifi): courses in “Graphic and Communication design“.

The Styrian AIDS Help Organisation (Steirische AIDS-Hilfe) provides the public with information about the transmission routes of the HIV-virus and prevention measures against it. The organisation receives financial support from public funds and donations. It offers consultations as well as free and anonymous HIV testing for early detection of the virus in order to make optimum use of new treatments. The advertising agency RoRo+Zec, founded by Robert Rothschädl and Michael Zechner, has worked for the Styrian AIDS Help Organisation since 1996. The team considers the organisation’s contribution to be essential for a future where it is hoped that AIDS will be wiped out, and making outcasts of people living with the disease will be consigned to the past. To motivate young people to use condoms, the designers opted for a low-key and hip approach (hip stands for humorous, ironic, provocative). ‘You can’t reach a young audience by wagging your finger at it,’ say the designers. They developed three lines for the campaign. The first line shows young women who will have nothing to do with a man without a condom. They emphasise their own sense of responsibility and motivate young men to use this contraceptive method. The second line puts the condom and its pack at the focus of the ads. There is a play on words in captions that apparently contradict the object seen. Line 3 shows a close-up of a condom out of its pack and rising to the occasion. The four visuals shown here are based on the above lines and contain the message ‘If you’ve got nothing on you can’t come’, ‘no condom – no go with self-confident girls and women today’, ‘A pick-up; first comes the pick-up and then the pull-off’, it’s your safety that counts. ‘Inner security’, politicians love it, and although not quite what the government has in mind, it’s not so very wide off the mark. ‘Pippi’s long stocking’; A man’s best friend can look great in designer togs. A provocative twist on a children’s classic that needs no explanation! Campaign material Business cards, condom packs, information package binders, ordering leaflets, postcards, posters, stickers




ANNA BERKENBUSCH AND TINA WENDEL Our views of war are influenced by the way professional war correspondents report it. Their pictures and films are intended to inform and shock at the same time. To offer a different perception of the conflict a group of students, teachers and artists from Berlin initiated a photography and painting programme with children of the Kosovo war, entitled Children’s eyes see more. In Berlin’s refugee homes and overcrowded Macedonian refugee camps, Albanian children from the ages of 6 to 14 painted what they experienced as they were being driven out of their homes and villages by the thousand at the beginning of 1999. The pictures portray the children’s perception of war. While they reflect the horror of the conflict in the Balkans, they also show innocence and hope for better days. Some of the little artists painted a sky full of hearts, a richly blooming garden and a butterfly in flight. ‘At the end of the war, the project expanded to the field of photography,’ say designers Anna Berkenbusch and Tina Wende. ‘School children in Pristina, Prizren and Djakova were given disposable cameras to capture their life in war-torn Kosovo. The premise: show us how you live, take a picture of what is important to you. The children took pictures of their


everyday lives in the desolate towns and villages, guarded by KFOR soldiers. All the pictures have something in common: the children’s perspective. How overpowering must the destruction of the old post office in Pristina be from a child’s point of view? How does it feel to a nine-year-old to stand in front of the ruins of what was once his home?’ The Different Eyes collection consists of 400 drawings and 1700 photos. After April 2000, a selection from the collection was displayed in an exhibition travelling through Europe. A catalogue was also produced, featuring drawings and pictures, as well as interviews with the children. After the collapse of Milosevic’s regime, the political climate in the region became less tense. But many things remained to be done to improve the children’s living conditions. ‘Their situation was catastrophic. There was a lack of toys, appropriate clothing, warm houses and psychological treatment,’ add the designers. ‘By presenting their drawings and photos, we wanted to help the youngest and most innocent victims of the war to overcome their trauma. At the same time we wanted to enable them to play an active part in the rebuilding of their country’. The Maikäfer Flieg organisation collected donations during the exhibition and by means of the catalogue. Campaign material Books, postcards


LOVECHECK - PLAY FOR LIVE Lovecheck is a card game with colourful pictures and symbols and an exciting competitive element. There are 70 playing cards measuring 55x55mm packed in a little cardboard box. The game is printed on water-resistant and greaseproof card that does not tear easily, preferably using paper produced in an environmentally friendly way. The narrative images inform children about HIV, how it can be contracted, and what is safe and unsafe. It depicts situations from daily life through photography in a contemporary, soap-opera style. The card game tries to inform children how oneâ&#x20AC;&#x2122;s own behaviour influences the chance of contamination. Since it is intended for young children, the game is adapted to their level of understanding, and includes short instructions for tutors and those who can read. The choice of the images was made in co-operation with organisations that deal with Aids awareness. The project was developed in three stages: preparation in the Netherlands, a test phase in Zambia followed by the campaign proper. Campaign material Box, flyers, playing cards

TINA LENZ Tina Lenz graduated at the Academy St Joost, Breda in Graphic Design and trained at Studio Anthon Beeke. After travelling in West Africa and Brazil she completed a Masters degree in Fine Arts at the Sandberg Instituut, Amsterdam in 1999. In 2004 she moved to Brussels, doing freelance work and was a Senior Designer at Base Design. In 2002, she won the Sappi ITM 2003 award for the Aids prevention game Lovecheck. It took her, the anthropologist Thera Rasing, and the foundation a year to develop the pilot game, which was first launched in Zambia. In 2007 Arjen Ijff, Tina Lenz and the Leprosy Foundation were awarded a Sappi ITM 2008 grant with the Daily Life Calendar 2009. In February 2009, Tina worked as a guest lecturer in South Africa. She taught Social Design at the St Joost Academy before starting a pre-master Visual Anthropology at the Free University of Amsterdam, carrying out visual research on 2-dimensional rituals, how people express themselves through paper.


Box printed on Magno Star 135g/m² Playing cards printed on Magno Star 170g/m²

Playing cards printed on Magno Star 170g/m²



MIKE FYNNEY The ‘Missing’ campaign was designed for the Alzheimer’s Society’s Nottingham branch, part of the Alzheimer’s Society UK. It relies on volunteers and donations to provide help, advice and support for Alzheimer’s sufferers, their families and carers. Although a major charity, the Alzheimer’s Society had a relatively low profile. Few people knew about the disease and its effects. Alzheimer’s is particularly hard on carers, for whom providing round the clock support often goes without recognition. Mike Fynney, creative director of the campaign, decided to highlight some of the lesser-known facts about the disease to raise awareness of the tremendous pressures experienced by the carers as well as the sufferers. Posters and press ads were designed in the style of missing-persons posters, as seen in police stations, because people are familiar with them. They typically feature a picture, a physical


description and contact numbers, executed in a crude style. Taking a closer look at the posters reveals a surprising twist, however. By portraying the carer as the missing person, Mike Fynney hoped to attract attention to the wider effects of the disease. ‘Carers effectively “disappear” from the lives of the sufferers’, says the designer. ‘To illustrate this point, we also created a direct mail piece made up of a set of blank “holiday snapshots” showing how Alzheimer’s robs people of their memories.’ The campaign was extremely well received by the Alzheimer’s Society. Campaign material Direct mail, leaflets, posters

Posters printed on HannoArt Silk 250g/m²



SVEA SCHILDMANN AND KATHRIN NAHLIK The organisation Kinderträume was set up in 1997 to allow terminally ill children to fulfil their dearest wish. Children’s wishes are relatively simple compared to those of adults, and are therefore easy to realise. For the children, looking forward to a big event they have been wishing for releases a lot of positive energy and strengthens their will to live. Kinderträume also focuses on individual and personal care, and stays close to the child and their family even after their wish has been fulfilled. Kathrin Nahlik and Svea Schildmann, designers of the campaign, used the children’s medication as metaphors. The child’s daily life is linked to the daily intake of medication. They show this in a non-challenging way, by featuring a fun illustration representing the child’s dream, which gives a more generous and personal feel to the campaign. The bitter pill is transformed into the child’s greatest dream. An example of the visual concept is a tablet changing into a computer. The caption reads: ‘Max, 10 years old, leukaemia: “I’d like to have a computer.”’ The drawing represents the emotional side of the child, pure and honest. Each poster and


postcard has its own personality and true story behind it, and each poster is an individual appeal for a donation. The uniqueness of each visual also shows the way the organisation likes to work, taking care of each child according to his or her own particular need. There are about 100 wishes fulfilled every year. The children first discuss their dream with their family and doctors then they contact Kinderträume. Most wishes are fulfilled, because the children know not to ask for something inaccessible. Campaign material Advertisements, billboards, flyers, postcards




ELISABETH KOPF Elisabeth Kopf studied psychology, history and philosophy in Austria. She moved to Hong Kong in 1989 and has lived and worked in Vienna since 1992. The birth of her son in 1993 was the spark for her future creativity, which is based on personal study and projects in photography, graphic design, visual concepts and art. In 1999, she opened up the design studio Baustelle. She works in the fields of corporate identity, cultural design and self-initiated experimental projects. The works are presented in design publications and exhibitions around the world and have won various design awards. She is a design lecturer at the University of Applied Arts in Vienna and other educational institutions since 2004. She became a member of AGI (Alliance Graphique Internationale) in 2006.


Elisabeth Kopf was an addicted smoker for many years. In 2001, work took her to New York City. Faced with the strict antismoking regulations in the USA and a strong craving, she came up with an original idea and created the first air cigarette. The air cigarette, designed for use in an emergency non-smoking situation, worked well for Elisabeth. She found that smoking air cigarettes had a therapeutic effect based on a positive pleasure stimulus. Colleagues also liked the idea and supported this project so she took the concept to the next level, designing a pack of 20s for a Chinese design magazine, an air cigarette poster for a graphic design conference in Barcelona and produced 5,000 handmade air cigarettes for an art biennial in China. As a now-fervent antismoker and an individual with a strong social conscience Elisabeth, with the support of Sappi, was able to publish and distribute the first newspaper cigarettes. Twenty air cigarettes plus a pack, were printed on Sappi paper. Users cut out and pasted the cigarettes together. Smokers of ‘Strong Viennese Air Cigarettes’ inhale nothing but pure air. The anti-smoking campaign was supported with newspaper advertisements, a citylight infoscreen and a website where desperate smokers could download, print and make their own air cigarettes! Elisabeth dedicated her efforts to the Austrian Red Cross with the theme First Aid for the Last Puff. Recipients of the newspaper were urged to quit smoking and donate some of the money they saved to the Austrian Red Cross. The Red Cross organisation brings assistance without discrimination to the wounded on the battlefield and alleviates human suffering wherever it is found. Its purpose is to protect life and health and to ensure respect for the human being. It promotes mutual understanding, friendship, cooperation and lasting peace among all people. Campaign material Air cigarettes, billboards, infoscreen citylight animations, newspaper advertisements, newspaper supplements, pack of air cigarettes, website

Newspaper supplements printed on Hello silk 170g/m²

Infoscreen citylight animations

Newspaper advertisements printed on Hello Silk 90g/m²



NATHALIE WILLEMS Nathalie Willems was born in Genk in 1978. She obtained a Master's degree in Graphic Design & Advertising (Illustration & Photography) from the Media & Design Academy in Genk, in 2002. She has worked for Impuls in Genk, Bialek & Partners and Grey in Brussels as a copywriter, developing creative concepts for brochures, mailings and working on creative campaigns for clients such as Seat, Skoda, Mazout, Belgacom, Child Focus and Pringles. She worked as a Project Manager at Mochi, Brussels, responsible for the production of a free monthly magazine and as a Business Development Manager at Proximity BBDO, Brussels. She currently works as a Project Manager at MarketAir, a young communications agency specialising in public relations and marketing-related projects for the tourist industry, with clients such as the Tourist Board of Egypt, Iberostar Hotels & Resorts and the inflight magazines for Thomas Cook and JetAir.

The Vlaamse Alzheimer Liga is an organisation that works tirelessly to make the Belgian public aware of the challenges faced by people suffering from Alzheimer’s disease. Alzheimer’s is a progressive brain disorder that gradually destroys a person’s memory and ability to learn, reason, make judgments, communicate and carry out basic daily activities. As the disease progresses, sufferers may also experience anxiety, apprehension and agitation, as well as delusions or hallucinations. The Liga seeks to improve the lives of everyone who is affected by the seriously debilitating effects of Alzheimer’s, both the sufferers and those who live with and care for them. As is the case with many organisations of this nature, funding is an ongoing issue. For copywriter Nathalie Willems, this was a subject too important to ignore. By communicating the organisation’s telephone number on a Post-it note, she cleverly highlighted one of the disease’s most common characteristics: the tendency to forget things. A Post-it stuck on the fridge or notice board instantly reminds the people who need it that help and information is at hand and easily accessible by calling the number. The Post-it campaign comprised posters and postcards displayed and distributed in strategically targeted locations such as doctors’ surgeries, and hospital and geriatric ward waiting rooms. Appeal letters were also mailed to a targeted audience. The poster operation was adapted to a printed advertisement, which ran in magazines targeted at the over 50s and Belgian newspapers on 21 September 2004, World Alzheimer’s Day. Subsequent to the campaign, the Vlaamse Alzheimer Liga confirmed a marked increase in the number of telephone calls they received – with many of the callers requesting copies of the material for display in their businesses or shops. Campaign material Invitations, letters, newspaper advertisements, postcards, posters,


Posters printed on Ironed Presto Silk 150g/m²



THOMAS MCCRORIE AND GORDON MCRURY For people who stammer or stutter, life is anything but easy. Adults are often made the object of ridicule, while children afflicted with the condition are often teased or even bullied. For all sufferers, insensitive peer behaviour not only exacerbates the problem, but also results in lowered self-esteem and loss of confidence. British Stammering Association (BSA) Scotland, an organisation that acts as the primary point of contact for information and support on stammering, approached Nation1 in Glasgow to help it raise awareness and promote understanding of the condition. Tom McCrorie and Gordon McRury were happy to oblige an organisation that did not have a lot of money to spend. Their objective was to raise awareness of BSA Scotland, address the stigma currently attached to stammering and reassure those that do that they are not alone and that their condition can be overcome in many different ways. Their creative solution cleverly conveyed the message that people who stammer have nothing to be ashamed about. On the contrary, many individuals who have shaped the course of history


in fields as diverse as science, politics and entertainment have been people who stuttered. Using images and quotations from the likes of Winston Churchill, Charles Darwin, Isaac Newton and Marilyn Monroe, the target audience is compelled to reassess their views that people who stutter have nothing important to say. The campaign consisted of a series of posters that ran for a month in Glasgow and Edinburgh, and a direct mail piece, which was distributed to a database that included schools, surgeries as well as members of BSA. It received extensive coverage on television and radio. The response was excellent with BSA Scotland reporting a flood of telephone calls and letters asking for information, and an increase in donations. Campaign material Bus shelter advertising, direct mail

Bus shelters

Direct mail printed on HannoArt Silk 170g/m²



PATRICK DEVLIN, PETER PURTON, MARLA MADISON AND CALLUM LUMSDEN Multiple Sclerosis (MS) is a progressively debilitating disease that affects the nervous system. It is the most common disabling neurological condition affecting young adults today. MS causes damage to myelin, the protective sheath surrounding nerve fibres of the central nervous system. The resulting interference in the messages between the brain and other parts of the body leads to debilitating motor dysfunction in sufferers. For some people, MS is characterised by periods of relapse and remission while for others it has a progressive pattern. For everyone, it makes life unpredictable and difficult. The MS Society is the UK’s largest charity for people affected by MS. With a network of 350 branches across the UK, the organisation provides information and support and is available to anyone affected by MS. The society ran a well-publicised fundraising campaign, ‘My Shoes’. The campaign was a celebration of walking and all that it entails: the strut on the catwalk, the brisk exercise walk, the explorers’ trek, the walk to school, the stroll on the beach. The creative team had worked with the MS Society previously and had a strong empathy with the people and admiration for the work they were doing. Sappi Ideas that Matter provided them with another opportunity


to help. Using brightly coloured shoe illustrations accompanied by humorous copy as the primary creative device, the team created a series of greetings cards that were sold through various distribution channels – with the proceeds going to the MS Society. The greetings cards were supported by magazine advertising and a website. Strong sales ensued. Campaign material Magazine advertisements, postcards, website

Postcards printed on HannoArt 350g/m²



XANDI ZELMANOVICS AND HANNES BÖKER Alexander Zelmanovics was born in Vienna in 1967. He graduated from the University of Vienna in 1990 in economics and law and worked as a copywriter in Vienna at Demner & Merlicek and 3/TBWA Austria until 1996, when he was Creative Director at Czerny, Celand, Plakolm and at GGK, Salzburg in 1998. In 1999, he became Creative Director at Ogilvy Vienna, and Chief Creative Officer at LOWE GGK in 2006. He has been a member of Creativ Club Austria CCA since 1996, a member of CCA-Juries and several Austrian national juries, including Eurobest in 2005, ADC Europe in 2006 and the Golden Drum, Portoroz Jury in 2008. Hannes Böker was Born in Bonn, Germany in 1968. He studied architecture in Berlin 1989-90 and Communications and Design studies in Hamburg 1990-94. He worked as a freelance Graphic Designer in Hamburg from 1992 to 1994, and as Graphic Designer at KNSK in 1995. He has worked in Vienna since 1998, as Art Director at Ammirati Puris Lintas, Lowe GGK, and Ogilvy. Since 2008 he has been Creative Director at Demner, Merlicek & Bergmann.


Imagine experiencing severe blistering and sores on your entire body from the slightest graze, a life of constant pain and stress, and for some children who suffer from this terrible disease, a life that is much shorter than it should be. In Austria 500 people, many of them children, suffer from Epidermolysis Bullosa (EB), a genetic skin disease for which there is currently no cure. The work of Debra-Austria focuses on the care of these people and the search for a cure by intensifying their highly targeted research. In 2004, Debra-Austria approached Tobias Legerer of Ogilvy & Mather GmbH in Vienna, Austria. Impressed by what the charity had already achieved with only a handful of volunteers, the agency agreed to take them on to raise the awareness of the organisation and communicate what life would be like living with this painful and very complicated disease. The team consisting of creative director Xandi Zelmanovics, designer Hannes Böker, copywriter Werner Bühringer, graphic artist Justin Nickerl and account managers Tobias Legerer and Iris Kumpfmueller approached the task with enthusiasm. They set out to convey, not just an understanding of EB, but a ‘feeling’ of what it means to live life like a butterfly child. But they were determined to do it without showing a suffering child. The resulting campaign is extremely powerful and unnerving in its inferences. At first glance, the images appear quite normal to the viewer, and to a healthy person they would be. But a closer look reveals that to a butterfly child apparently normal situations can be anything but. The campaign, which spanned TV, radio, print, PR, online, outdoor, direct marketing and events, was widespread and very effective, increasing donations to Debra-Austria by more than 200% compared to the same period in the previous year. Campaign material Posters

Posters printed on Hello Silk 150g/m²



FRANCINE SÉCHAUD Francine Séchaud is a graphic designer working in marketing. She was born 1964, Switzerland, and attended ERACOM graphic design school, where she obtained a Certificat Fédéral de Capacité. She has also studied at ISEIG, the Swiss Institute of Information Management; ERAG, Graphic Design College, Lausanne; The Computer Arts Institute, San Francisco, where she obtained a Certificate in Desktop Publishing; the Academy of Art College, San Francisco; École Athéna, Lausanne, where she gained a PA diploma in three languages; and ECAL, Swiss School of Fine Art and Design, Lausanne. Her professional experience includes painting exhibitions, secretary and press officer at Lausanne Theatre and various internships and jobs in Switzerland and the USA, such as Trekleader in USA for Suntrek-Nouvelles Frontières, San Francisco; Ski Teacher in l’Ecole Suisse de Ski de Leysin (Japanese and American school) and decorator. She has travelled in Asia, America and Africa.


The Swiss Cancer League was founded in Lausanne, Switzerland, in 1960 by a group of doctors concerned at the alarming rise in cancer statistics. As the chief organisation of 19 cantonal and regional cancer leagues with over 60,000 members, the primary goal of the Ligue Vaudoise Contre le Cancer is cancer control on a medical-scientific basis. It disseminates valuable information regarding melanoma prevention, cancer and nutrition. But Francine Séchaud, a freelance designer from Rolle in Switzerland, was impressed by the league’s vital social role. She wanted to emphasise the personal dimension, the social perspective, and develop material that would involve the community and inform patients of the enormous social support they were receiving, complementing their treatment and helping them overcome their disease. Francine devised the idea of a ‘solidarity bracelet’. Consisting of several strands woven together, the bracelet would communicate that the league’s valuable assistance (in research, education, social activities, and prevention) was interwoven with the support, participation and care of all those who wanted to take part. Using brochures as the primary awareness medium, dispensers in post offices across the city allowed passers-by to participate, showing them how they could weave the strands of a bracelet together to show support for a cancer sufferer. The bracelet analogy of uniting support for the ‘better together’ campaign allowed complete strangers to become an integral part of the caring network. The aim was for everyone to take part, volunteering time or money, or simply participate through awareness by means of the bracelet. Campaign material Brochures, posters

Brochures printed on Magno Satin 150g/m²



DOMINIQUE GARAUDEL AND ARNE STACH Arne Stach, Communication Designer, Düsseldorf. Born in Haan in 1981, his interest and proficiency in communication, design and new media began in childhood. After training as a media designer with a Wuppertal design agency, he studied communication design at the University of Applied Sciences Düsseldorf. As a student, he was singled out for his outstanding contribution to a state-wide campaign raising awareness of multiple sclerosis. His work for Audi, at Almap BBDO São Paulo, received awards at One Show Interactive, the New York Festivals and the São Paulo Creative Club. Arne is a keen guitarist who has played in bands since his school days. The multimedia agency he founded with friends in 2005 is named like a music label: Championship Records. For Arne, communication is like music, it must create connection. His agency has completed projects for such clients as T-Systems, Bayer and the German Art Directors Club. Arne loves travel and moves easily between cultures, deriving much of his creative energy from his travel experiences.

Most people do not know what Multiple Sclerosis (MS) is. They find the symptoms difficult to identify because, physically, it is not easy to tell the difference between those who suffer from MS and those who do not. But life for MS sufferers is hard. A simple task can become a hurdle that seems impossible to overcome. Daily chores, like brushing your teeth or walking a few metres, can take more time and energy than they seem to be worth. And there is still no cure for Multiple Sclerosis. Designers Arne Stach and Dominique Garaudel from the Design Department at the University of Applied Sciences in Düsseldorf, Germany, did not want to dwell on the negative aspect of this crippling disease. They wanted to produce a campaign that proclaimed that, in spite of the enormous handicaps, ‘life is worth it anyway’. Like their client, the Deutsche Multiple Sklerose Gesellschaft Landesverband NRW eV, they wanted to highlight the heroism of those living with the disease. The DMSG focuses its efforts on self-help seminars, advisory services, and support groups providing information exchange on everything from recreational activities to therapy sessions. Similarly, the design team wanted to devise a campaign that subtly portrayed the challenges MS sufferers must face every day. Situations are described in sentences that make mountains of molehills: ‘Thirty metres is a marathon. Two sentences are a novel. The pavement is a gymnastic balance beam.’ Each presentation concludes with the line, ‘Multiple Sclerosis is incurable. Life is worth it anyway.’ On billboards, posters, postcards and in newspaper advertisements, this positive approach received an overwhelmingly positive response, with several major newspapers and magazines offering free space. It also generated awareness for the DMSG from unexpected sources, with several newspapers running editorials discussing the campaign, the DMSG and the subject of MS in general. With specialist media (such as the German online advertising site ‘Trüffeljäger’) also featuring the campaign, the subject of MS seems to be firmly established on the public agenda. Campaign material Billboards, postcards, posters


Posters printed on Magno Satin 170g/m²


“The Teenager Cancer Tru that Matter awards is one moments of our careers.” “The Ideas that Matter co challenge and socially us to designers.”


st work for the Ideas of the proudest LIZ DAY / FRASER SOUTHEY / DARREN CANTELL > GRAPHIC DESIGNERS

mpetition is a creative eful; we recommend it




LIN LAMBERT AND NADINE GROTE They say that if you take care of your children when they are young, they will take care of you when you are old. Which is all very well in theory, but when senile dementia sets in, taking care of an ageing and debilitated family member can be frightening, frustrating and infuriating. Nadine Grote and Lin Lambert, two designers with LG Design, Lambert und Grote Gbr of Düsseldorf, Germany, had both experienced the reality of living with an older family member suffering from dementia. They empathised with the sufferers, but also with the families. And they knew that as the proportion of our ageing population grows learning to live with dementia will become increasingly necessary. Teaming up with Gemeinnützige Gesellschaft für Soziale Projekte (GSP) and Lebens-Kunst eV, they designed a campaign that would challenge perceptions of dementia and allow people to become more comfortable with it. The result was Erinnern-Vergessen: Kunststücke Demenz, a series of artistic events by and about those suffering from dementia, expressed through various theatre productions, films and other art


forms. To support the events, Lin and Nadine designed a book that provided the necessary focus on dementia, and a series of billboards to publicise the event. One piece shows three older people who have just finished an everyday activity. But the viewer is uncomfortably aware that something is out of place. Is it a comedy? Is it a tragedy? Ultimately, the message gives viewers permission to see the comical side of the situation, and feel sympathy for dementia sufferers, rather than feel uncomfortable at being confronted with someone who has lost a critical faculty like memory. The campaign proved a great success. The work itself received remarkable acclaim, the performances were very well attended and the programme was repeated at the end of 2006, with the organisers in line to win a prestigious award for innovative cultural events. Campaign material Billboards, books

Books printed on Magno Matt Classic 300g/m² and Magno Matt 100g/m²




YOUNGJU CHA AND SEONMEE KONG The symptoms of Alzheimer’s Disease can be alarming. As a disease that affects the brain and brings on dementia, sufferers can feel restless and moody, or have difficulty remembering, speaking, learning, making judgments and planning. The Alzheimer’s Research Initiative (AFI) is a charity that was created in 1995 to provide much needed funding for Alzheimer’s research and educate the public regarding the nature of Alzheimer’s. Seonmee Kong and Youngju Cha, design students at Fachhochschule Düsseldorf (the University of Applied Sciences Düsseldorf) in Germany, were moved by the helplessness experienced by sufferers, the sense of futility of living with an incurable disease such as Alzheimer’s, as well as the impact the disease can have on family members and carers. To generate an understanding of the frustrating world in which sufferers live, they developed a campaign that portrayed situations that seem humorous, but are very real for Alzheimer’s sufferers. Toothpaste on a sausage, shoes in the refrigerator, letters in the toaster, and dentures in a goldfish bowl, all seemingly innocent and comical, but frustrating for


those who must deal with these images as a daily reality. It is only when one imagines the consequence of these scenarios that one can understand the dangers inherent in living with Alzheimer’s Disease. Powerfully presented in the press, on posters in over 1,000 locations, and through a series of popular postcards, the campaign had an enormous impact, with several mentions on local radio stations. The proof of the effectiveness of the campaign came from AFI themselves, who experienced a corresponding increase in mail and telephone interest in the organisation whenever the campaign was presented. Campaign material Billboards, postcards, posters

Postcards printed on Algro Design 300g/m² Posters printed on Hello Matt 170g/m²



LAURA MORANDINI, SUSI GRION AND DANIELE VARELLI In Africa, in this age of universal healthcare, women still die in childbirth, unable to get to a hospital because it is too far or too expensive. For those who believe in public heath care, development and human rights, this is an intolerable situation. Doctors with Africa CUAMM is an organisation which works to develop respect for the fundamental human right to health, and to ensure that healthcare services are available to everyone. Founded in 1950 with the aim of training doctors to work in developing countries, under the name of CUAMM (University College for Aspiring Missionary Doctors) it has chosen over the years to focus its work on the African continent, hence the name ‘Doctors with Africa’. For Laura Morandini, Susi Grion, Daniele Varelli at CDM Associates in Udine, Italy, the title ‘Doctors with


Africa’ was significant. They wanted to emphasise the meaning of ‘with Africa’ as opposed to ‘for Africa’, and the way in which it expresses profound participation in the problems experienced in Africa. In partnership with their client, they selected words – such as Equity, Rights, Health, Service, Maternity, Motivation and Infancy – which express this profound connection and history of service. In this way, they used the power of words to reverse the commonplace perception of public awareness campaigns and the demand ‘give me facts not words’. Using materials that are familiar to the medical profession, such as gauze and medicine boxes, they developed a powerful campaign to awaken the public to the plight of people in Africa, and give them a sense of the essential co-operation that brings real empathy and change. Campaign material Books, folders, postcards, posters

Folders printed on Magno Satin 140g/m²

Books and folders printed on Magno Satin 140g/m²



STEVE LANNIN, PAUL JONES AND DARREN WHITNEY Steve Lannin is a Senior Lecturer in Graphic Design at Southampton Solent University. Paul Jones and Darren Whitney were both students [on BA Graphic Design] who worked on the project with Steve. Steve as creative director, Paul as designer, Darren as illustrator - both graduates are now fully employed at design firms in London – Paul Jones is working as a graphic designer at Strudel, Darren works for the international agency Tribal DDB.

Lost and Found in Action was a campaign that took the simple concept ‘beautiful imperfection’ and generated an appropriate visual language that marketed the British Heart Foundation charity shops to young men. This idea developed three conceptual branches. First, being rough and ready (the distressed look), communicated through distressed ‘dirty’ letterpress typography that looks ‘placed’ rather than ‘over-designed’ and photos of battered things, walls, barriers, paper etc. Second, being an individual (be unique, heroic, brave), communicated through the unusual shape and look of the leaflet. Third, being part of a team (play your part, improve the world for each other), communicated through sports items, humour (shared amusement) and an increased contemporary concern about the environment. The items that were produced included four posters, a leaflet, five postcards, and a range of in-store signage. An original aspect of the campaign was to locate campaign items where mainly men wait, barbershops, car service centres, garages, sports clubs, bars, pubs and clubs, betting shops and tattoo parlours. Many thanks must be given to Mandi Simms & Julian Temblett for their openness to new ideas and their tireless contribution to this project. Comments from designers and educators included the following: ‘Refreshingly different and viscerally moving synthesis of concept and materials’, ‘A campaign that is eminently suitable for its intended audience, whilst brilliantly inventive in its conception, production and realisation’, ‘One if the finest pieces of design to emanate from the BA Graphic Design course at Southampton Solent University’. Campaign material Books, over-riders, postcards, posters


Posters printed on Magno Matt Classic 300g/m²

Books printed on Magno Matt Classic 300g/m² and Magno Silk 170g/m²

Posters printed on Magno Matt Classic 300g/m²


SAM’S CAMPAIGN The Samantha Dickson Brain Tumor Trust (SDBTT) is the UK’s largest brain tumour charity. Set up after the death of Samantha Dickson at 17 years old, it has celebrated its tenth anniversary (with the participation of this campaign) in 2006. The trust has provided over £2 million in funding for research into brain cancer and continues to fund research and find treatments. Brain cancer is known as the forgotten cancer. And Chris Catchpole (art director, designer and writer) of catchpole&friends in London, knew that good advertising and PR could not only help raise the profile of the charity but bring greater awareness nationwide to their cause. He chose to dramatise many of the common symptoms of brain tumours to educate people and give them some idea of a checklist of things to look out for. One or two symptoms together are not necessarily indicative of a tumour, but any more than this and it is recommended that a doctor be seen immediately. Also, as many of their long-standing patrons are very well known celebrities, he chose to run a follow-up campaign using four of them showing their support. The campaign was covered on national television (Channel 4 and Meridian), in national magazines and press, in numerous local magazines and regional press, and in several interviews on the radio. Around £2.1 million of media exposure and over £60,000 in donations were generated by this campaign.

CHRIS CATCHPOLE Chris Catchpole is Executive Creative Director at Domain, a London-based Direct Marketing agency. Previously, he had his own agency, catchpole&friends, for three years and worked at Harrison Troughton Wunderman as a Creative Director for four years, when they won more awards than any other agency in the UK. He lectures in the UK and across Europe on creativity, art direction and copywriting. He has his own blog and regularly contributes to industry magazines and websites.


Campaign material Door drops and inserts, posters, press adverts, stationery, taxi seat backs

Press adverts



LILLY MOSER Born 1 Dec 1955 at Innsbruck, studied graphic design and painting at Vienna College for Applied Art: graduated 1990. Own graphic-design agency in Innsbruck since 1996, specialities: corporate design, setting up exhibitions, orientation systems, art in construction.

In 1981, doctors at the Child and Adolescent Psychiatry Clinic in Innsbruck, Austria, noticed that children leaving the facility were not receiving the level of care they needed. They suffered from multiple disabilities, often an inability to walk. Their families simply were not equipped to care for them, and often this had a detrimental effect on their recovery. In addition, many of them returned to homes deep in the rugged Tyrolean countryside, far too remote to be monitored or to receive assistance in an emergency. And so the idea of training foster families (or ‘Heilpädagogische’ families) within reach of the facility was born, and the organisation ‘Heilpädagogische Care and Adoptivfamilien in Tyrol’ started. Lilly Moser, designer at büro54 in Innsbruck, had known of their excellent work for many years, and when they asked her for help she did not hesitate. Her objective was to create basic information material, translated into four different languages, which could ensure better outreach to migrants and marginal groups. She wanted to ensure clearer communication of the organisation’s message – that they offer highly professional support and care for mentally and physically disabled children. She also wanted to promote the image of the organisation externally, to families and other stakeholders, particularly to new families in eastern Tyrol, as well as internally, to motivate employees, and to increase awareness and recognition within other social organisations and associations. Two hundred and thirty employees distributed material to schools, hospitals, medical centres, kindergartens and associations supporting migrants, at four separate locations. In addition, Lilly took responsibility for the development of material to represent the association at relevant public and private organisations and associations in eastern Tyrol as part of the process of establishing a new office there. It is clear that in terms of an awareness of this fine organisation, the message finally got through. Campaign material Brochures, business cards, envelopes, letterheads, postcards




Postcards printed on Hello Silk 300g/m²

Brochures printed on Hello Silk 150g/m²

Postcards printed on Hello Silk 300g/m²



ARJEN IJFF AND TINA LENZ Tina Lenz (b.1972, Alkmaar) graduated at the Academy St Joost, Breda in Graphic Design and trained at Studio Anthon Beeke. After travelling in West Africa and Brazil she studied for a Masters degree in Fine Arts at the Sandberg Instituut, Amsterdam (1999). In 2004 she moved to Brussels, where she was Senior Designer at Base Design. In 2002, she was granted the Sappi ITM 2003 award for the Aids prevention game Lovecheck. It took her, the anthropologist Thera Rasing, and the foundation a year to develop the pilot game, which was first launched in Zambia. In 2007 Arjen IJff, Tina Lenz and the Leprosy Foundation won the Sappi ITM 2008 award with the Daily Life Calendar 2009. In February 2009, Tina worked as a guest lecturer in South Africa. She taught Social Design at the St Joost Academy before starting a pre-master Visual Anthropology at the Free University of Amsterdam, carrying out visual research on 2-dimensional rituals, how people express themselves through paper.


In the Netherlands, as in many European countries, the Dutch are unable to identify with leprosy. As there hasn’t been a single reported case of leprosy in the Netherlands since the Middle Ages, it is a disease they have no firsthand experience of, no general knowledge of, and consequently, feel no need to support. And because the disease often appears in isolated areas – so-called ‘leper colonies’ – they feel even more disconnected from it. Adding further to their disinterest is a perception that the disease is not treatable, that limbs fall off your body until you, finally, die. But Dutch Leprosy Relief (who do everything they can, in collaboration with health services in leprosy endemic countries, to cure leprosy patients and prevent physical damage and disfigurement) needs the Dutch to feel very deeply about sufferers of the disease. The organisation relies almost exclusively on public funding in order to exist. Clearly, Tina Lenz and Arjen Ijff at Tuna Vuong in Amsterdam were faced with a task that entailed both awareness and empathy. Their solution was to create a calendar entitled ‘Daily life of a leprosy patient’. For them, the idea of the calendar was symbolic of daily life: “365 days a year people throughout the world perform the same acts. By employing a visual language of universal and trivial acts, which we find perfectly normal, which are much more complicated for a leprosy patient.” The calendar shows how much more complicated life is, every day, for a leprosy patient. The calendar will be offered to all new donors as a welcoming gift, and the Dutch Leprosy Relief will sell the calendar to companies as a Christmas gift for employees. Campaign material Calendars

Calendars printed on HannoArt Silk 300g/m² and 215g/m²

Calendars printed on HannoArt Silk 300g/m² and 215g/m²



ALESSANDRO POZZATI, NIKOLINA POPOVIC, IRENE CALLEGARI, LAURA CORTINI AND GIANNI DORIGO The Leonetto Cappiello Academy of Art and Design is a private institute that has been operating in Florence for more than 50 years. The school offers exciting professional courses in Visual Design and Interior Design to young graduates who are looking for an alternative to university preparation and want to turn their personal creativity into their professional activity. The quality that has always set the Academy apart is that it works in an environment that is young, dynamic, modern and extremely well qualified, always with attention to the latest technologies and the continuous evolution of the working world. During the period 2001 to 2006, more than 100 companies working in the design sector and many others from the graphics sector, have turned to the Academy to find hundreds of personnel.

Frequently, those living in the developed world experience the need to do something for others who are less fortunate. It does not matter what the cause is, or what is required of them, as long as they feel they are giving of themselves and their talents in a way that selflessly connects them to those in need, letting them know there are people who are there for them. This is the noble motivating sentiment of Vogliamo la Luna, an organisation established in 1997 simply to help children in need. Originally formed as ‘Association of Children in Emergency Castelnovo Monti’ to help children with Aids, in 1998 they changed their name to the more whimsical ‘We Want the Moon’, reflecting their dedication to helping wherever they can. This is also the objective of a team from the Accademia L Cappiello in Florence, Italy. Under the supervision of Professor Gianni Dorigo, the team, consisting of Nikolina Popovic, Alessandro Pozzati, Irene Callegari and Laura Cortini, were happy to create the charming yet modest ideas shown here. As they explain, ‘Solidarity means sharing ideas, feelings and aspirations. And what Aids orphans wish for most is a loving home. Consisting primarily of a set of posters and post cards, their material has been widely used throughout the region of Emilia-Romagna in Italy. The result has been a varied range of promotional activities across the region, all of which have strengthened the cause of Vogliamo la Luna through a considerable increase in donations. Campaign material Books, postcards, posters


Posters printed on Magno Star 180g/m²



MÓNICA ALMERICH MUÑOZ AND GEMMA COLL MALÉ Formes, an agency specialized in design and communication, was created by two young entrepreneurs in 2002. They offer a graphic design and visual communication service. Their team specializes in the creation of corporate identity (public institutions and private companies) and communication, and media advertising campaign planning and managing. Their service also includes packaging creation and development. They have participated in various design competitions, including Sappi, Ideas That Matter, in collaboration with the Andorran Red Cross, with the campaign, ‘I wear it, what about you? You’ll feel safe, you won’t feel alone’ (20062007) Festa major de maig (Lleida). They were selected to participate in the NUDE (New spanish design) in Valencia (2003).

By 2050, if current trends continue, Spain will have the oldest average age of any country in the world. Roughly 85% live with their family or in their own home. But as living habits change and young working couples move away from home earlier, an increasing proportion of the elderly are living alone. As residential care becomes increasingly expensive, though, many are having to sell their homes to pay for the spiralling costs. Now, thanks to the Andorran Red Cross and Vodafone, there is an alternative. It is called Tele-Attention, and it connects patients to a permanent service centre, where their records are kept, at the push of a button. The button is on a device which they wear, a watch or a pendant, which connects automatically to a base station in their home, up to a distance of 60 metres. Using GPS technology, it allows healthcare professionals to both communicate with the client, and determine their position to within metres. Now the Andorran Red Cross just needed to get the word out to as many people within the community as possible. And that’s where Mònica Almerich Muñoz (graphic designer) and Gemma Coll Malé (art director) at agency Formes in La Seu D’Urgell, felt they could play an important role. Their approach was direct and humorous, based on the copy line ‘Jo me’l penjo, i tu?’ (‘I wear it, what about you?’). The campaign emphasised the user-friendliness and social acceptability of Tele-Attention, using photography of either satisfied users or volunteers to get the message across. The campaign used advertisements displayed primarily at Opis bus stops on main bus routes, and followed up with high quality pamphlets and posters, which were distributed in medical centres, hospitals and other places frequented by the target market, such as civic centres and pharmacies. In just four months, the campaign had exceeded their expectations, with 28 new clients having signed Tele-Attention contracts, and a further 51 contacting the organisation for more information, effectively more than doubling the response in the previous four months. Campaign material Pamphlets, posters


Posters printed on Magno Matt Classic 170g/m²

Pamphlets printed on Magno Matt Classic 200g/m²



FRASER SOUTHEY, LIZ DAY AND DARREN CANTELL Cantellday has been operating for over 5 years, designing for both print and web. Clients include King’s College, Cambridge, Girton College, Cambridgeshire Mencap, Health Enterprise East (NHS) and Cambridge University Botanic Gardens. Since entering the ‘Ideas that Matter’ competition, they’ve been rolling out the winning Appeal concept nationwide for Teenage Cancer Trust. Fraser Southey is an experienced creative writer, with a background in advertising and design. Over the past few years, he has written annual and sustainability reports, brand books, marketing brochures, speeches and websites for clients that include BP, EDF Energy, Freshfields Bruckhaus Deringer, Great Ormond Street Hospital, Marks & Spencer, Nokia and the UK Film Council.

Being a teenager isn’t easy. It’s a time of indecision and insecurity. What to think, what to wear, how to behave, how to cope with hormone-induced body changes and mood swings. So just imagine what life is like for teenagers with cancer. It was this thought that inspired Darren Cantell and Liz Day from design agency cantellday in Newmarket UK, and independent copywriter Fraser Southey, to get involved with Teenage Cancer Trust (TCT). ‘We were moved by the work of TCT and the experiences of the young people we help. When TCT launched the Addenbrooke’s campaign we saw an opportunity to produce strong, distinctive creative work that really helps other people,’ they explain. What’s more, Fraser had first-hand experience of the organisation, his daughter having been successfully treated for cancer. So it was with a unique insight into the mindset of their market that they approached the task. ‘Our concept was inspired by the ‘tribal’ nature of teenagers – the way they define themselves through the clothes, music, films, foods and experiences they enjoy and how they also ‘label’ people in the same terms. We used their likes and dislikes, loves and hates to produce simple, strong, honest and emotional messages in support of TCT,’ they explain. Initially launched at a charity ball, then via local press and TV, the campaign received rave reviews from the TCT team, young cancer patients and their families. The poster campaign was distributed via city council networks, while materials were also distributed to schools and colleges and to patients and their family and friends. All campaign components were designed for easy use by community groups and individuals when staging fundraising events for the appeal. The popularity of the campaign is borne out by requests to use the same concept for all other UK regional campaigns. And with more than £400,000 raised towards the costs of building a new TCT ward at Addenbrooke’s Hospital, Cambridge, everyone’s smiling – even the teens. Campaign material Brochures, certificates, envelopes, postcards, posters, stickers, table cards



Brochures, certificates, post cards, table cards



VANESSA HAMANN AND INGA HEBENSTREIT Began working in advertising in Germany with Lippert Willkens & Partner agency in Düsseldorf in 1999, and with Holz & Friends advertising agency in Düsseldorf in 2003. She went on to gain a university entrance diploma in 2003 and pursued design studies at HS–Niederrhein, 2004-2005, and at FH–Düsseldorf 2005-2009. In 2008 she worked briefly at Gramm (Grey Global Group Middle Europe GmbH & Co. KG) in Düsseldorf advertising agency before moving to the design department of 3M in Neuss, Germany.

The BDO is an organisation based in Germany that assists people who are waiting for an organ transplant, and offers post-surgical support to those who have received an organ donation. The BDO is also involved in encouraging people to become organ donors. It is of great concern that the number of patients waiting for transplants increases while the list of potential donors declines. Registering as an organ donor through the BDO (or any other organisation) is actually a very simple process. When you consider that by donating an organ can actually save a life, it is surprising that so few people enlist as donors. Vanessa Hamann is a designer studying at Fachhochschule Düsseldorf. For her Ideas that Matter entry, she came up with a concept for the BDO that she thought would persuade more people to register. With her campaign, Vanessa wanted to get people thinking about the subject, and to change their attitude about it, and perhaps even prompt them into action and become donors. As inspiration, Vanessa looked to superheroes from comic books and films. Superheroes are fearless defenders of all that is good, committed to helping people and changing society for the better. They are admired because they save lives. Superheroes, however, possess extraordinary powers. Some of them can fly. Others have enormous strength. But, as Vanessa points out, ‘Organ donation means saving lives without having any kind of superpower, so it is something that everyone can do!’ In her campaign, Vanessa took simple snapshots of people going about their everyday life and, using a striking illustration style, ‘dressed’ them in superhero costumes. They are the same as any other person, except their organ donation cards have magically transformed them into life-saving superheroes. Instead of resorting to shock tactics, Vanessa’s campaign draws attention with her use of humour and eye-catching visuals. And it’s paying off, too. The BDO has dramatically increased its organ donor memberships since the campaign launched. Campaign material Billboards, postcards, leaflets







ALEXANDER ZELMANOVICS, DIETER PIVRNEC, NIKOLAUS LEISCHKO, SASKIA BECK, MICHAEL GRILL, HANNES BÖCKER, WERNER BÜHRINGER AND MARTINA RAMINGER Alexander Zelmanovics was born in Vienna in 1967. He graduated from the University of Vienna in 1990 in economics and law and worked as a copywriter in Vienna at Demner & Merlicek and 3/TBWA Austria until 1996, when he was Creative Director at Czerny, Celand, Plakolm and at GGK, Salzburg in 1998. In 1999, he became Creative Director at Ogilvy Vienna, and Chief Creative Officer at LOWE GGK in 2006. He has been a member of Creativ Club Austria CCA since 1996, a member of CCA-Juries and several Austrian national juries, including Eurobest in 2005, ADC Europe in 2006 and the Golden Drum, Portoroz Jury in 2008.


In 1995, debra-austria was founded as a support group for those suffering from Epidermolysis bullosa (EB), their families and carers. debra-austria offers help, counselling and information to those whose quality of life is significantly limited by this rare disease that has serious consequences and is frequently very painful. Young EB patients are often known as ‘butterfly children’ because of their highly sensitive skin, which is as fragile as the wings of a butterfly. This rare congenital skin disease, EB, affects approximately 500 people in Austria and about 30,000 people in the EU. It is currently incurable; EB is one of the ‘rare’ or ‘orphan’ disorders for which there is only limited funding in Europe. Medical care and scientific research as well as the running costs for the world’s first EB clinic (eb-haus Austria) are covered entirely by private donations. As debra-austria has no advertising budget, we depend on media cooperation. Therefore, we have been working on a very broad range of advertising materials to increase the chance of exposure. In order to guarantee the highest possible visual transfer, all advertising materials where based on the same campaign idea. To avoid stigmatizing the people affected by using unpleasant images, Designers Alexander Zelmanovics, Dieter Pivrnec, Nikolaus Leischko, Saskia Beck, Michael Grill, Hannes Böcker, Werner Bühringer and Martina Raminger have chosen to show in a very ingenious way how life feels to butterfly children. The main objective of the campaign is to create awareness of EB and generate donations. The campaign targets the general public but also more particularly potential private donors, especially people with a sense of social responsibility. Campaign material Posters




KURT STEINEBRUNNER AND NADJA RIEDEL Kurt Steinebrunner was born in 1968 at Bay Shore, N.Y., USA. He studied Visual Communication at the University of Applied Sciences, Augsburg and at the Basel School of Design, 1999-2003 and was employed as a designer until 2005. Since 2006 he has worked for S1 Studio for Graphic Design in Augsburg. Nadja Riedel was born in 1977 at Mayen, Germany. She studied Visual Communication at the University of Applied Sciences, Schwäbisch Gmünd, 19982002. From 2002 she worked as a freelance designer, and established [d] Ligo Design & Development in 2008. Since 2002 she has been teaching basic design principles at the University of Ulm.

Deafness is an invisible disability. While the loss of this sense may not be immediately noticeable to others, the consequences for people affected by this disability are profound. Communication difficulties create major problems in daily life and put deaf people at a disadvantage, with fewer job opportunities and prospects for cultural participation and social contact. Sign language, for example, is not simply the translation of German into an encoding system. German sign language is a complex self-contained language, with its own grammar and usage. So deaf people live in a country where the majority is not capable of speaking their native tongue. It is different in some countries, where they try to break down the barriers to communication. In Germany, this situation needs to be improved considerably. The campaign aims to inform the hearing public of the needs and problems of deaf people. They in turn feel that they are a part of society, and that their predicament is being taken seriously. The main objective is to eliminate misunderstandings between deaf and hearing people and help to create a more inclusive society. The campaign, designed by Kurt Steinebrunner and Nadja Riedel, uses various media, with large posters placed at the main stations of six German cities. The wording on the posters is provocative: preconceptions are articulated and then refuted in response. Postcards are distributed in the same cities and leaflets with more details are sent to target groups. A website linked to other resources is being launched, presenting further information. There are different phases to the campaign. The first introduces the subject, bringing it to society’s attention; then additional information in matching leaflets delivers a deeper insight into the problems faced by deaf people. The reader is approached intellectually with facts, and emotionally with human-interest stories. In addition, sets of ‘playing cards’ are given to schools explaining ‘German sign language,’ aimed at children who are open minded, enthusiastic and quick to grasp new concepts. The organisation hopes that this will help to nurture tolerance and understanding and bring about change in the future. Campaign material Flyers, playing cards, postcards, posters





Playing cards



PETRA MATIJEVIC, BLAŽ RITMANIC, NINA STIPANIC, JANEZ TRONTELJI, ANA IVANDIC AND TOMAZ CÖR For Formitas BBDO, one of the biggest - Slovenian advertising agencies, It is very important that social awareness projects really reach the target audience in order to make a qualitative change. Petra, Blaž, Nina, Tomaž and Janez came up with a ‘plan’ to promote organ donation. They all strongly believed, that raising awareness that after death, your organ can help someone else, just as someone else’s organ could help you. Formitas creative team won Sappi award three times - with the Bruise tester in 2006 and then in 2008 with ‘Sign the condemnation of the death penalty’ and ‘car quiz’ – and still continue to work heartly in the field of promoting ideas that matter.

Despite the progress of modern medicine, some medical conditions are impossible to cure without an organ or tissue transplant, but the number of organ donors in Slovenia is very low. The aim of the Institute for the Transplantation of Organs and Tissues of the Republic of Slovenia is to promote organ and tissue donation in order to increase the number of organ donors and raise awareness of this issue by promoting a positive message about organ donation. Organ and tissue donation after death is a very sensitive and delicate subject and must be presented to the public with dignity and respect. Through the slogan ‘Prolong life’ and the key message ‘Become a link in the chain of life’, designers Petra Matijevic and Blaz Ritmanic have devised a campaign that seeks to convey the idea that becoming an organ donor is a noble and compassionate act. But also that the greater the number of people who become donors, the greater is the likelihood of being able to obtain a transplant should the need arise in the future. Since the choice of donating organs is also one that can be made by the family of the deceased, signing up to become a donor is not the only way to participate in the ‘Chain of life’. Being aware of this issue and thinking about it is also a link to the interdependence of humanity. To convey the message ‘Prolong life’, a leaflet has been produced with one side designed like a ruler. It contains relevant information about why and how to become a donor in the form of FAQs. The other side shows portraits of people in a metaphorical life chain, holding hands. This symbolizes that each person is an indispensible part of the whole, and creates an emotional bond with the cause. The campaign hopes to achieve its goal through the use of the leaflets, a website and an event. The leaflet will be distributed in health facilities, waiting rooms, doctors’ surgeries, pharmacies, and at the main event on Slovenian Organ donation day, which will try to reach as wide a public as possible. We will be able to measure the success of the campaign simply by the number of new organ and tissue donors who come forward. Campaign material Box, leaflets, website





CLAUDIA SCHWECKE AND ULLA MUELLER-FREY Ulla Mueller-Frey, born 30 Jan 1963 at Bamberg. 1982 abitur at Bamberg. 1982-1984 studied History of Art and Historical monuments, University of Bamberg. 1984-1988 studied Communication design, Augsburg Fachhochschule für Gestaltung (College of Creative Design), completion of studies: degree in design (FH). 1988-1997 graphic designer and Art director with various Munich advertising agencies. 1997 founding of schwecke.mueller GmbH advertising agency together with Claudia Schwecke since 1997. Business manageress in Creativity and Consultancy at schwecke.mueller GmbH advertising agency. Claudia Schwecke, born 27 Nov 1965 at Regensburg. 1984 abitur at Regensburg. 1984-1989 studied business management at University of Regensburg. Specialist subject: Marketing Completion of studies: degree in business management. 1990-1993 project leader with a market-research company, Munich. 1994 to 1997 head of art-buying at a large Munich advertising agency. 1997 founding of schwecke.mueller GmbH advertising agency together with Ulla Mueller-Frey. Since 1997 business manageress in Consulting and New Business at schwecke.mueller GmbH advertising agency.


Wildwasser Würzburg e.V. is charity supporting young girls and women who have been sexually abused. The organisation aims to provide support, personal advice and long-term therapy to the victims and those around them. It employs salaried female psychologists and social workers as well as volunteers from various professional fields. The services offered by Wildwasser Würzburg e.V. include emergency telephone support, immediate assistance, advice and therapy. They accompany victims to the authorities, the police, female doctors, lawyers and self-help groups, and act as intermediaries with other specialist services. In addition, Wildwasser Würzburg e.V. is involved in public relations work and information events. They also organise training and seminars for psychosocial specialists. The campaign was conceived to raise awareness and draw the public’s attention to the subject of sexual abuse, while also making an appeal for donations. With this new communication approach, Wildwasser Würzburg e.V. also wanted to establish itself as a competent and professional institution with the aim of attracting corporate sponsors. After discussion with the client, it became clear that one of the main issues with sexual abuse is speechlessness: the unacceptable silence of abused girls and women, through shame or fear. This silence is common to those who do not want to acknowledge their suffering but it is also the persistent silence of society treating the subject as taboo. Sexual violence should not be considered as an individual problem, but as a problem for society as a whole. The veil of silence that covers this subject affects us all. The campaign consisted of images of five young girls and women representing various age groups who look at the camera with a fixed, uneasy expression. Over the mouth is the headline ‘sexual abuse leaves you speechless’. The campaign was aimed at victims and at anyone who felt concerned and willing to help. Schweckemueller studio chose to work across various media, such as large-scale posters (356cm x 252cm), A1 posters, A6 postcards, adverts in daily newspapers (various formats), promotional articles, donation forms, image brochures. Campaign material Advertisements, brochures, postcards, posters



Postcards printed on Magno Matt Classic 300g/m²



TEUN VAN DER HEIJDEN, GERT-JAN BOEIJEN AND JURJEN HOOGLAND Heijdens Karwei graphic design agency started in 1997 in Oss, in the south of the Netherlands. In 1998 the agency moved to Amsterdam. At first Heijdens Karwei worked for a broad range of clients. Since 2002 it is involved in photographic projects (mostly books and exhibitions) and working for NGOs. Heijdens Karwei is Teun van der Heijden and Sandra van der Doelen. Most of the time they work with a team of freelancers. Apart from collaborating with many publishers, Heijdens Karwei works on a regular basis for Amnesty International, Stichting Vluchteling, World Press Photo. In addition to the work for Heijdens Karwei, Teun van der Heijden works as a freelance curator and is creative director of the Dutch Photo Festival in Naarden.

With this campaign, Amnesty International wanted to reach a younger audience. The organization wanted to make young people aware of the fact that they can really do something about the violation of human rights. With this in mind, Heijdens Karwei created the slogan ‘U Man Write!’ which is the ultimate slogan for Amnesty International. On one hand it stands for Amnesty’s central activity (writing in response to the violation of human rights), and on the other it phonetically resembles ‘human right’, which is at the heart of Amnesty’s work. The slogan ‘U Man Write!’ was developed as a simple, strong logotype, a round form with the slogan printed in firm typography together with Amnesty International’s logo. This makes it very easy to recognize. The message can also be understood as ‘do something against the violation of human rights’. This logotype forms the basis of the campaign. The audience being teenagers, they decided to use the same media that young people use to communicate their (party) culture: posters, stickers, flyers/cards. They used this format to present the logotype ‘U Man Write!’ in various situations and environments, familiar to young people then. They combined the logotype with a great variety of images in order to create a tension between the visual and the text. They expected that the great diversity (and rarity of some) of the stickers and cards would stimulate young people to collect them. The visuals used for the posters were made by Martijn van de Griendt, Cleo Campert and Morad Bouchakour. Although it was designed as a campaign to be broadcasted in The Netherlands, the Dutch campaign clearly showed strong potential for worldwide distribution. It was produced in various formats such as advertisements, posters, stickers, cards/flyers, beer coasters and bookmarks. The advertisements and posters were intended to make young people aware of the campaign and of the slogan. The ads were placed in magazines, including magazines published by Amnesty International: Wordt Vervolgd and Frontaal, along with other magazines such as BLVD, Webber, Strictly, Fancy and Break. Campaign material Advertisements, beer coasters, bookmarks, flyers, postcards, posters, stickers


Posters printed on Magno Star 150g/m²

Beer coasters, bookmarks, postcards, stickers




MARCO ZANICHELLI Marco Zanichelli, born in 1965, Parma, Italy, co-founder and art director of Onde Comunicazione, an advertising agency with specialised expertise in green and cultural issues, scientific innovation, and the service sector. Associated AIAP, Italian Association for the development of visual communication teaches Graphic Design at Chierici Art School in Reggio Emilia.

A few alarming facts: half the world’s poor are children; 130 million children of primary school age are not in school; and an estimated 250 million children are forced to work, often in dangerous conditions. Save the Children (StC) is one of the world’s leading non-governmental agencies, present in 32 countries and operating programmes in over a hundred. It fights for the rights of children and works towards a world that respects and values each child, a world that listens to what children have to say, a world where every child has hope and equal opportunities. Marco Zanichelli learned about Save the Children’s activities through a friend. He was immediately attracted by their earnest methods and unwavering determination. As a Graphic Design teacher at the Università del Progetto near Bologna, Marco Zanichelli chose to involve eight of his students in the project. The primary aim of the team, however, was to ‘disappear’ and leave the space and voice to the children. They set out to explain children’s fundamental rights as written out in the United Nation’s 1989 Convention for children aged six to eleven and asked them to interpret several of the articles through drawings. ‘We also wanted the children to take possession of their rights, as if they were born or sprang from them. This is how we came up with the headline, ‘This is my article’, concluded the designer. The print campaign generated many contacts, both by phone and on the web. The card featuring the children’s fundamental rights was an especially big success. In fact, StC had 40,000 additional copies printed. This positive experience led to a close relationship between StC and Università del Progetto. Undoubtedly, their collaboration is set to continue. Campaign material Postcards, posters, book, credit cards





VASILIKI HEIN Vasiliki Hein is a Greek designer living in Germany since birth. She has studied communications design in Wuppertal, Germany. She graduated in 2003, and lives close to Düsseldorf and Cologne, where she continues working as a designer. Her fields of activity range from print media to web design and from product design to exhibition design.


Kindernothilfe is a charitable organisation whose aim is to give young people in the poorest countries of the world the chance of a good start in life. That means a basic school education and vocational training, good nutrition, clothing and medical care, and rehabilitation for the handicapped. Kindernothilfe supports about 130,000 children and young people in 25 counties. As a political pressure group, Kindernothilfe’s mission is also to strengthen the rights of children worldwide. The German term ‘Kindernothilfe’ means help for children in need. ‘To begin, I must admit that I simply love children, but who doesn’t?’ says Vasiliki Hein, designer of the campaign. She is outraged by the fact that children should have to suffer and are sometimes cut off from the most basic needs. ‘We simply have to change that and protect the children, because they are our future’. Vasiliki Hein’s aim was to find a formal strategy that would allow her to express both, the ideal way of life children should enjoy and, by contrast, children subjected to the life they actually lead or will be leading in the future. The surrealistic shadows appearing behind the children illustrated this. Never before had Kindernothilfe received so much response to a campaign. The campaign worked in two ways: a strong lobby identified political targets to whom to address their concerns, and significant funding was attributed to the different programmes. Vasiliki Hein and Wolfram Reichert founded ‘Purwerk’, their design studio, in 2001. They both share the same philosophy, which is to combine strong images with reduced graphic design. They also share the ambition to work for social, political and cultural organisations. Campaign material Press-portfolio, posters

Press-portfolio printed on Magno Pearl 300g/m²

2001 > CBM // ITALY


TERESA SDRALEVICH Teresa Sdralevich is an Italian illustrator and graphic designer based in Brussels. She deals mainly with social, cultural and political issues and is particularly fond of poster design, believing in communicating strong ideas through simple images and striking slogans.

The Centre for Child Abuse and Family Crisis Treatment (Centro per il bambino maltrattato e la cura della crisi familiare or CbM) is a non-profit organisation set up in 1984 in Milan to prevent and treat child abuse and family violence. It is also a crisis centre for families, offering residential care units, training, family therapy, a unit dealing with sexual abuse and a helpline for children, adults and professionals. The Centre works with the basic belief that it is possible to break the cycle of family violence. Bearing in mind the sensitivity of such a campaign, guidelines were established and strictly followed. In terms of content, Teresa Sdralevich, the designer, wanted to include the use of familiar expressions, familiar situations and a realistic but positive approach. In terms of design, the elements she chose to work with were drawings, more distant and more symbolic than photography; strong images but by no means shocking ones; the childâ&#x20AC;&#x2122;s universe. The texts were conceived with the help of the CbMs Vice-President, Teresa Sdralevich. The challenge was to distil her lengthy experience into a few words. According to CbM, there was an increase in calls directly related to the campaign although there was not a noticeable increase in donations. The campaign aroused interest in the press, giving CbM a chance to explain its work and raise public awareness, in the same way as the 500 posters on Milanâ&#x20AC;&#x2122;s walls for a month and the 60,000 postcards distributed in Milan and its outskirts. In the long term, the CbM can continue to introduce itself, especially to professionals, using effective printed material. Teresa Sdralevich is a freelance designer working mainly for non-profit cultural organisations and publishing houses. As an illustrator, she also collaborates regularly for several magazines and illustrates books for young readers. Campaign material Brochures, postcards, posters


Posters printed on HannoArt Silk 135g/m² and 170g/m² Postcards printed on UniMatt 300g/m²



IAN GABALDONI AND RICHARD BAYNHAM Sarah’s Day Out is a children’s book for adults. It depicts the escalation of the physical punishment of a child and shows the long lasting emotional and physical effects, using the simple illustrative style of children’s books. As part of the National Society for the Prevention of Cruelty to Children’s (NSPCC) Full Stop campaign, the aim of the creators of the book, Richard Baynham and Ian Gabaldoni was to change parental behaviour and public attitudes towards the use of physical punishment on children. ‘The NSPCC understands that disciplining children is tough; but hitting children is unacceptable,’ say Baynham and Gabaldoni. ‘It can have detrimental repercussions on the child, creating long-term emotional problems, resentment, copycat behaviour and bullying. We wanted to empathise with parents about the difficulties of parenting, but also to communicate the negative effects physical punishment can have on the child, making them realise that hitting children is wrong.’ The creative idea stems from the argument that using non-violent methods to discipline children is simple enough for a child to understand. For the book, the communication needed to be simple yet powerful, in a format parents would be familiar


with. A children’s book with a difference added poignancy to the initial idea. A total of 4,000 Sarah’s Day Out books were printed. Some were distributed to selected journalists and others to childcare professionals as a means to help communicate to parents the negative effects of hitting children. The contact details of NSPCC’s helpline are given at the end of the book. Richard Baynham and Ian Gabaldoni joined Saatchi & Saatchi as a creative team in 1994 and became board members in 1999. Campaign material Books

Books printed on Magno Satin



VERA STANKOVIC AND MARINA BUCAR ‘I fell down the stairs… I hurt myself on the door handle…,’ these are two common excuses victims of domestic violence use to justify the injuries caused by their partners or ex-partners. ‘The shame and the pain that women experience, combined with our society’s attitude towards violence against women makes it very difficult for them to talk about their ordeal and seek help,’ says Vera Stankovic, creative director of the campaign. In Slovenia, where the campaign was first implemented, six women are killed by their partners or ex-partners in a three-month period, according to statistics provided by the Slovenian police. However, both the public and the government are very slow to in reacting to the problem, despite the sense of urgency such statistics would seem to demand. The first step towards change lay in raising the level of public awareness. And what venues could be better suited to reaching the greatest number of people than the streets, buses or stairs leading to public buildings?


Indeed, part of the uniqueness of the campaign was the choice of elements and the places where they appeared. Posters, leaflets and stickers boldly executed on fluorescent yellow material with copy in thick black letters, the design elements juxtaposed with the locations in which the public were to encounter them. For instance, a cut-out of a woman’s shape saying ‘One out of five women is being trampled on,’ was stuck on the pavement where pedestrians could walk over it. A sticker featuring the text ‘Stop violence against women’ appeared close to the bell push that signals the driver to stop on buses. A poster saying ‘One out of five women is safer here than at home,’ was placed out on the streets. Because violence against women knows no boundaries, Vera’s Slovenian campaign was also implemented in Belgium and in The Netherlands. There too, as in the rest of Europe, one in every five women is a victim of domestic violence. Campaign material Doorhanger flyers, leaflets, posters, stickers

Doorhanger flyers printed on Magno Star 170g/m²

Posters printed on Magno Star 170g/m²

Floor stickers

Stairs stickers

Bus stickers



SANDRA MITHOEFER Sandra Mithoefer is a German graphic designer. She developed the ‘Wire Shapes’ campaign while studying at the University of Fine Art and Design Saar (HBKsaar) in 2005. She graduated in 2007 and is now living and working in Berlin. She has worked as a graphic designer in several advertising agencies and graphic design studios.

In Germany, more refugees and victims of torture are granted asylum than many of its residents are aware of. All too often, they are housed and then abandoned. But thanks to organisations like Exilio-Help for Refugees, Migrants and Survivors of Torture, with its integral approach, all that is changing. Exilio ensures that they get vital initial trauma counselling as well as follow-up medical and psychological assistance. Furthermore, Exilio helps its clients with debt problems and provides legal advice as well as a special care programme for the children of refugees. All work, even that performed by professionals, is undertaken on a pro-bono basis, and is entirely free of charge. After seeing a presentation by Exilio on the treatment of migrants, refugees and torture survivors, Sandra Mithoefer, a design student in 2005 at the Saar University of Fine Art and Design in Saarbrücken, Germany, was determined to find out more about the organisation. Their values and the extent and thoroughness of their caring for total strangers affected her deeply, and she decided she had to use her skill to help the organisation. The campaign she subsequently developed is subtly chilling, presenting visuals of body parts sculpted from wire, avoiding the usual clichés of pain, suffering and children with watery eyes. Headlines, taken from actual transcriptions, tell of atrocities at the hands of torturers and are typed on scraps of crumpled paper, ‘Shackled by a chain around our necks, we were unable to move.’ And, ‘For days we were exposed to a constant dripping of water on our heads.’ Not surprisingly, this simple yet powerful billboard campaign significantly bolstered the circle of donors providing financial assistance to Exilio, and firmly cemented the public perception of this dedicated and thorough organisation in its quest to provide comprehensive help for those most in need. Campaign material Billboards





SYLVIA GOLDBACH After seeing a film by journalist Beate Blaha (who founded Kinder- und Jugendhof Litauen, Children’s Trust Fund Lithuania in 2004), Sylvia Goldbach decided to go to Lithuania and see for herself. Then a student in Freiburg, Germany, Sylvia (now a designer and strategic planner at Wetzel Group) was shocked and moved by what she saw. Some of the children spoke good English and Russian. All of them had dreams of what the future could hold. Sylvia soon realised that, while they were combing through the rubbish in search of scraps, what they were actually looking for was education, food, a safe home, the right to a childhood and a sense of being cared for by a community, just like any other child. So she developed Treasure Search Lithuania, a campaign based on the treasure hunt concept, in which children are literally depicted finding the real treasures of life in the rubbish dump. A series of posters also took waste from the dump to public places in Germany to draw attention to the plight of the children. An annual report designed for


Children’s Trust Fund Lithuania continued the same themes, and all were distributed to schools, canteens and worldwide donors to elicit support. And the support came. Thanks to Sylvia’s campaign, scores of new contacts and donors have enabled the trust to take the campaign to another dump in a nearby city in Lithuania and build a second training centre. There, children face the same hardships, but with help, they may also realise their dreams. Campaign material Annual reports, billboards, posters, stickers

Posters printed on Magno Ivory 115g/m²

Annual Reports printed on Magno Ivory 170g/m²



CHRISTOPH KERSCHNER AND WALTER STROMBERGER Christoph Kerschner, born in 1975, Steyr, Upper Austria; 1997-2001 University of Art and Industrial Design in Linz (Kunstuniversität Linz) studying graphic design and Photography; 1999-2002 Creative director at Commit IT Solutions GmbH in Linz (later Twyn Group); 2002 Founded Kest advertising agency – strategy, communication, design, with Walter Stromberger. Mag. Walter Stromberger, born in 1976. 1995-1996 University of Carinthia, studying education and communication; 1996-2004 University for Art and Industrial Design in Linz (Kunstuniversität Linz), Studying graphic design and photography, Master’s degree in 2004; Exhibition of photographic work at the ‘Università di Tor Vegata’ in Rome; 1998-1999 Freelancer for ArtBit Multimedia: Graphics and design.

Child abuse most often happens within the family and behind closed doors, taking the form of negligence, physical mistreatment and sexual abuse. In Linz, Austria, there is a centre with committed employees and effective strategies to prevent child abuse and treat its aftermath. But it was not well known, and had limited funds to reach those in need. Now over 20 years old, the Kinderschutz-Zentrum Linz (Child Abuse Prevention Centre, Linz) has worked tirelessly to create a violence-free environment for children, teenagers and their families, offering free counselling and therapy at the centre. In addition to counselling, the centre does what it can to educate the people of Linz about issues of abuse in an effort to prevent problems occurring. Realising the precariousness of the centre’s situation, designers Christoph Kerschner and Walter Stromberger, together with writer Norbert Tomasi of Kest strategy, communication, design, approached the centre’s director Barbara Künschner with an audacious plan. They found Barbara to be open to their ideas and the plan became a reality. To illustrate the ‘cover-up’ (the hidden nature of abuse and the unwillingness of the public to acknowledge it) they covered Linz city centre in pink paper; cars, public objects, shop windows, clothes, coats and books in shops were all wrapped in pink. This was followed up with posters, flyers and brochures, focusing attention on child abuse and the role the centre could play in both preventing and treating it. ‘For once, the public could not close their eyes to the reality. No-one could ignore the campaign or the subject,’ enthused the team. A professional public relations agency supported the campaign with a press conference, coverage in local newspapers, on radio stations and TV channels. The end result was a dramatically increased awareness of the centre, which is now regularly contacted by local media for interviews and comment on abuse related issues. Campaign material Billboards, brochures, doorhangers flyers, folders, giveaways, leaflets, note books, paper bags, paper glasses, posters, stickers, wrapping paper and wrapping paper rolls


Posters printed on Hello Silk 115g/m²

Wrapping paper printed on Hello Silk 115g/m²

Paper glasses


Paper bags



MATIJA OŠLAK, EVA BARBORIC, BLAŽ RITMANIC AND TOMAŽ CÖR Matija, Eva, Blaž and Tomaž were a young, enthusiastic creative team in the advertising agency Formitas BBDO that loved to promote Ideas that Matter whenever they could. The Bruise Tester was just one of the social awareness projects they took a part in. Talking about violence within the family is still discouraged and suppressed in Slovenia. And yet it can only be prevented by talking about it. The team won the Sappi award in 2006 with the Bruise Tester. Since then they all continue to pursue noble goals and are taking parts in socially responsible endeavours. Tomaž and Blaž are still in the creative team of the Formitas BBDO advertising agency, Eva and Matija left the agency but continue to work enthusiastically in the field of promoting Ideas that Matter.

In Slovenia, everyone knows someone who is a victim of violence. But, due to the social taboo on the subject – and to avoid trouble and the risk of ‘getting involved’ – most prefer to look the other way and ignore it. Matija Ošlak, Eva Barboriˇc , Blaž Ritmaniˇc and Tomaž Cör, a team of designers and writers at Formitas, a member of BBDO International in Ljubljana, Slovenia, chose not to look the other way. Instead, they chose to get very involved, putting their time and considerable effort behind EMMA, an NGO that helps children and women, who were – or still are – victims of violence. Realising that the key challenge in lifting the lid off abuse was simply breaking the silence, they developed an arresting piece of work: a flyer in form of an arm. Distributed in areas where possible victims of violence or possible witnesses of violence could see it, the arm is what they called a ‘bruise-tester’. Based on the bruises that are the telltale signs of abuse, the ‘bruise-tester’ is a way of challenging victims or witnesses of violence not to wait too long before telling somebody about it. An astonishing 100,000 ‘arm-flyers’ were distributed. In public schools (hanging on wardrobe hooks in cupboards), in public buses (hung over hand rails), in apartment blocks (hung on front door handles), the ‘arm-flyers’ became ubiquitous in Koper, Ljubljana, Celje, Maribor and Murska Sobota, the five main metropolitan centres in Slovenia, and the places where most victims and witnesses could be reached. After a wave of publicity from all the daily newspapers in Slovenia came a breakthrough – and an ultimate acknowledgement of the problem. In an audience with the mayor of Ljubljana, Danica Simši, the creative team and the directors of the EMMA organisation were promised support for their efforts to assist the victims of violence, and to encourage witnesses to come forward. Campaign material Flyers


Flyers printed on Hello Silk 300g/m²

“It was a revelation to fin it possible to serve a goo that Matter.” SANDRA MITHOEFER > GRAPHIC DESIGNER

“Sappi was the perfect pa campaign approach deali the family.” MATIJA OŠLAK / EVA BARBORICˇ / BLAZ RITMANIC

d a competition making d cause: Sappi’s Ideas

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PETER FOUBERT In most European countries, freedom of the press is taken for granted. Certainly, in Belgium readers of a wide range of independent, uncensored newspapers open their newspapers every day and expect unfettered and uncensored news coverage. Imagine their surprise then, when readers of ‘De Morgen’ found to their horror that their newspapers had been stapled closed, preventing access to the information inside. This disruptive tactic by the team from Dubois meets Fugger in Antwerp (comprising copywriter Ben Van Asbroeck, art director Caroline Vermaerken, creative director Peter Foubert and account executive Lien Brouillard) was a deliberate ploy to alert readers to the fact that, while they may take press freedom for granted, there are many countries where readers are not so lucky. UNESCO


(United Nations Educational Scientific and Cultural Organisation), which describes itself as ‘a laboratory of ideas and a standard setter to forge universal agreements on emerging ethical issues’, had chosen to focus on press freedom for a full year in the Vlaanderen region. Working with their client Marino Bultinck, this intervention was remarkably successful. Readers, after their initial frustration with an inaccessible newspaper, would discover a card stapled to the back of the newspaper telling them ‘Freedom of the press is not so obvious everywhere’, alerting them to the plight of the press in other countries and directing them to the organisation’s website. As a result of the campaign, hits on the organisation’s website showed a dramatic increase – proof of the public’s heightened awareness of the issues surrounding press freedom. Campaign material Newspaper inserts

Newspaper inserts printed on Hello Silk 150g/m²



NOÉ MENDOZA CUEVAS Noé Mendoza Cuevas works as an Art Director for advertising, cinema and publishing projects. He has worked for national and international companies as an Art Director (Mccann Erickson, Cpproximiti, J. Walter Thompson) and since 2007 he has been working freelance on large and small projects.


In order for the abuse of human rights to exist or to continue, it must remain hidden. Often perpetrated out of the public eye, always hidden by those with the power to do so, the most powerful tool in the fight against human rights violations is exposure. And that is just what this innovative campaign achieved, literally. Before your eyes, violations you never knew existed make themselves visible, everyday occurrences that take place in all corners of the world to many people. The technique developed by Noé Mendoza Cuevas, Art Director and designer at Señor Piruleta in Madrid, involves printing on card with thermochromatic ink, which becomes visible when the temperature changes, presenting the reader with yet another frightening incident that Amnesty International (AI) fights every day to abolish. With a network of more than 1.8 million members, supporters and subscribers in over 150 countries and territories in every region of the world, AI is held together by dedicated individuals. They are committed to a vision of a world in which every person enjoys all the human rights enshrined in the Universal Declaration of Human Rights, and in other international human rights standards. A long-time devotee, Noé’s remarkable campaign is the culmination of years of collaboration in advertising and promoting AI in Spain. And thanks to his deep understanding of the organisation, he was able to identify the symbol of the candle as key to their mission. He says, ‘The candle needs people who want to light it, who want to continue to shed light on violations, to enable them to be investigated, to denounce them and bring them to an end.’ With no fewer than 5,000 mailings, and a response rate of 2.15% resulting in an impressive €20,000 in funding, that was a lot of people lighting a lot of candles. Campaign material Mailing box coupons, cards with thermocromatic ink

Cards printed with thermocromatic ink on Magno Matt 300g/m²

Cards and coupons printed on Magno Matt 300g/m²



JÜRGEN STEPHAN AND JOHANNES VON FREYDORF Johannes von Freydorf education: 1994 – 2003 eichendorffgymnasium (secondary school) in ettlingen from september 2003 to july 2004 civilian service at the ‹assisted living for the mentally ill› in the diakonisches werk, karlsruhe practical trainings: eggel communications, stuttgart kontext kommunikation, heidelberg hatje cantz publishing house / dr. cantz‘sche print office, stuttgart castle festival, ettlingen music magazine unclesally*s, berlin mercedesbenz technology, warmbronn/leonberg studies 2005 – 2009 studies of visual communication at the university of applied science, pforzheim. Jürgen Stephan 1992 – 1995 Carl-Hofer-Schule, College for applied Graphic-Design / Karlsruhe 1996 – 2000 School of Design, Pforzheim University of applied Sciences 2000 Establishment Stephan Kommunikationsdesign / Karlsruhe 2003 – 2005 Research Assistant / Pforzheim University of applied Sciences 2005 Establishment Kontextkommunikation / Heidelberg 2007 Stephan Kommunikationsdesign / Karlsruhe 1999 Awardee international art-competition ‘1999/2000 zwischen den Zeiten’ 2007 Awardee ‘SAPPI-ideas that matter’ 2007 Publication,graphic-book ‘EdgeTensionPlease’ 2008 Artist at ‘Lumas Galerie / Berlin’ 2008 Awardee ‘IF communikation design award’ 2009 Nomination for the Federeal Republic of Germany Design-Award 2010


Since antiquity, philosophers have pondered the relationship of body, soul and death. Plato described the body as the ‘grave’ of the soul, the Buddhists call it the ‘column’ of the mind, Heidegger understands existence as a ‘being until death’. Clearly, death is not separate from life, but a component of our existence itself. OASIS is a place where terminally and critically ill patients and those close to them can find support and understanding. Literally a calm ‘oasis’ and safe haven among the clamour and chaos to which patients have been subjected. OASIS provides a place where people can come to terms with death as an important part of life, a progression rather than an ending. It is a place where dying and mourning are put in context; where laughing, crying, and being afraid of death are not taboo. Designers Jürgen Stephan and Johannes von Freydorf of Stephan Kommunikationsdesign in Karlsruhe, Germany, were excited about the challenge of communicating such a deep philosophical argument and representing an organisation with such noble intentions. They divided their campaign into two parts. First, they designed a series of billboard posters that featured three different pictures. During the day, each one showed a person looking directly at the camera with the line ‘For dignified living’. At night, the backlit picture would show the same person that had appeared alive during the day, now dead, with the line ‘For dignified dying’. The second part was collateral for a weekend named ‘Death Dance’ featuring three events (movie, theatre and music) for which they produced posters and flyers. The effect was striking. With such eye-catching posters, pedestrians and passengers across the city of Heidelberg were reminded day and night that they are mortal and that OASIS is there to provide dignity to the living and the dying. Because of the posters a lot of people found the OASIS website and ended up at the event. The team reported that feedback was really positive, with particular emphasis on the emotive appeal of the pictures used, resulting in extremely good press coverage of the campaign. Campaign material Billboards, flyers, posters


Flyers printed on Magno Ivory 200g/m²




FRANCESCO MARIA GIULI, MARCO PIROLLI, LUCA GRUCCOLINI AND STEFANIA DELL’AQUILLA Francesco Maria Giuli is an Italian graphic designer. He lives and works in Terni, Umbria, Italy. He studied in Rome at IED (European Institute of Design) and trained for a year in the United States where he met Milton Glaser. In 1998 he founded the graphic design agency molly&partners supported by a team of communication designers. The team’s main activities are graphic design, copywriting, marketing, web design, events and social communication.


For designer Francesco Maria Giuli, equality is an equation. In this striking campaign for Utilità Manifesta, he uses mathematical symbols (such as +, -, ÷, x, =) literally, and the words that express them (addition, subtraction, division, multiplication) to catch the attention of the target market and to alert them to messages designed to encourage a society more tolerant of immigrants and more inclusive in nature. From his base at molly&partners in Terni, Italy, Francesco designed a range of posters, flyers, even a book with a DVD, using the simple language of mathematics. Francesco explains, ‘The use of mathematical symbols would be relatively insignificant and banal if not combined with the headlines, Cultural Addition (for us this is dialogue), Subtracting Prejudice (for us this is integration), Sharing Out (for us this is what the world means), and Multiplication of Ideas (for us this is multiculturalism).’ The scope of the campaign was staggering. Altogether, the campaign found expression on 400 billboards, 40 bus side-panels on main bus routes, 100 bus-stop posters, 12,000 flyers and 3,000 books. Not surprisingly, the impact was equally impressive, giving immigrants an identity, promoting the process of cultural and social integration between immigrants and the city, and generally furthering Utilità Manifesta’s goals by promoting social responsibility through design in everyday situations and generally supporting human dignity in every context where human beings can be found. Campaign material Billboards, books, bus side panels, flyers, postcards, posters, show cards

Posters printed on Magno Star

Billboards printed on Magno Star 115g/m²



MATIJA OŠLAK, PETRA MATIJEVI, JANEZ TRONTELJ AND ANA IVANDI Drunk driving among the youth is a serious concern in Slovenia. Penalties for doing so are severe, but have not deterred many young people from risking their lives. Creative director Ana Ivandi, designer Petra Matijevi and copywriters Matija Ošlak and Janez Trontelj of Formitas BBDO Pleon in Ljubljana decided to develop a drunkdriving campaign that would speak to Slovenia’s youth. Zveza Prijateljev Mladine Slovenije (ZPMS) is a voluntary philanthropic organisation. It works to improve quality of life for children, young people and families, and is committed to the protection of their human rights. It also focuses on social awareness projects for teenagers. Because ZPMS sponsors many youth centres, the creative team had both a client and direct access to the primary target market. Their aim was to make young people aware of the dangers of drunk driving and its potentially tragic consequences. Their solution was ‘Car quiz’, a game in the form of a set of 10 coasters. Each coaster contains a set of questions. If these are answered correctly, the player wins his or her


licence to drive. The questions cover road-sign identification, rules of the road and safety precautions. The player chooses between three possible answers. The correct one is on the reverse of the coaster, alongside an additional message that addresses those players who have been drinking alcohol. The message reads: ‘Does the right answer help you if you drink and drive?’ ‘Car quiz’ games were circulated at youth centres as well as at nightclubs, bars and other night spots. All regional ZPMS offices, which experience a high volume of foot traffic, also received the game. The game proved to be so popular that further quantities were ordered. ZPMS received enthusiastic feedback from youth centres and word-of-mouth feedback was equally positive. While people had fun with the quiz aspect of the game, it forced them to recognise and confront the dangers of drunk driving. Campaign material Coasters, coaster holders

Coasters, coaster holders



ANŽE POMPE, BLAŽ RITMANI AND ANA IVANDI Anže and Blaž, from one of the biggest Slovenian advertising agencies, Formitas BBDO, came together enthusiastically to tackle the problem of the death penalty in the world. Although the death penalty was abolished many decades ago in Slovenia, there are still many countries still implementing it. The goal was make people aware that the death penalty is far from complete abolition. Every single signature, from whatever country, makes a difference and creates a pressure on countries that still have the death penalty, and with the ‘sign the condemnation of the death penalty’ campaign, they won the Sappi Ideas that Matter Award in 2008.

Amnesty International is a worldwide movement of people who campaign for human rights for all. Supporters of the movement are inspired by hope for a better world, and work to eradicate human rights abuses through campaigning and solidarity. Amnesty International coordinates their support to act for justice on a wide range of issues. One of the issues Amnesty International confronts is the death penalty, which it believes is the ultimate denial of human rights. The UN has signed a resolution calling for a global moratorium on executions. Although the death penalty in Slovenia was abolished decades ago, copywriter Anže Pompe and designer Blaž Ritmani of Formitas BBDO Pleon wanted to do all they could to encourage other governments to do the same. Every voice that speaks out against the death penalty makes a difference and puts pressure on noncompliant countries. Under the creative direction of Ana Ivandi, they created a campaign to raise awareness of the injustice of the death penalty. It occurred to Anže and Blaž that there were probably many people who weren’t aware that the death penalty still existed in other countries. It is a cause that can be taken up no matter where you live, and as a global organisation, Amnesty International could reach millions of people. Anže and Blaž wanted their campaign to be tangible, making the issue unavoidable. They created leaflets with the stark visual of a hanged person and the headline: ‘Sign the condemnation of the death penalty’. The leaflets were punched and hung from a holding device that resembled a gallows. People had to remove the hanging person from the gallows. The intention behind this was to make people feel empowered to make a difference. Copy on the inside of the leaflet outlined facts on the death penalty and challenged people to sign a petition on the Amnesty website and contribute to the cause. Campaign material Gallows, leaflets, box with cards, table flags




DOMINIKA RACZKOWSKA Born in 27.08.1971. Education: Academy of Fine Arts in Warsaw, 1995 – 2000. Work experience: 1999 – 2001 Publishing House Murator – art director; 2000 -2002 Ad Server Polska – art director, 2002 – 2003 Chancellery of the Prime Minister of the Republic of Poland, creative director in the Department of European Union Access Comitee.; 2003 – 2007 – deputy art director, Hearst – Marquard Publishing House, Cosmopolitan; 2007 – art director, Gazeta Prawna Daily, Infor Publishing House.

The Helsinki Foundation for Human Rights carries out educational and research-related activities in the field of human rights. Based in Warsaw, it was established in 1989 in the wake of the transformation of Poland’s political system. Every year the foundation hosts a documentary film festival called ‘Watch Docs’ that highlights human rights issues. The intention of the festival is to educate the public about rights and liberties using one of the most popular mediums of communication and entertainment. The festival is aimed in particular at promoting films from central and eastern Europe. Art Director Dominika Raczkowska put together a campaign called ‘Human rights matter’. It advertised the film festival while promoting the central concerns of the Helsinki Foundation for Human Rights. A newspaper, ‘Watch Dog’, was specially created by Dominika for the campaign and distributed during the festival in Warsaw. Watch Dog included stories on the films screened at the festival, alongside articles by journalists and politicians that dealt with huma-rights abuses all over the world. As many as 20,000 free copies were handed out to people in the street, on university campuses and in the headquarters of the Helsinki Foundation for Human Rights. Around 3,000 copies were distributed among the crowd during a public meeting with the Dalai Lama, whose visit coincided with the Watch Docs festival. The remaining editions of Watch Dog were distributed during the travelling film festival, which visited over 30 Polish cities during 2009. Thanks in part to Dominika’s ‘Human rights matter’ campaign, the eighth International Watch Docs Film Festival attracted over 15,000 viewers, a vast increase from the previous year’s attendance. It is estimated that 2009’s travelling film festival will see audience figures increase by 20%. Campaign material Booklets, brochures, newspapers, posters




CLAIRE DARMON, THIERRY SARFIS THIBAUD KELFA, JULIEN-PIERRE MALLET AND PAULINE GHISLAIN The French association Blonba works to support artistic expression in Mali to promote development, offer professionals training, and nurture EuroAfrican cultural relations. The association works in coordination with Blonba Mali on ‘Education for civic life’, the national programme for education in citizenship. Mali is currently engaged in a highly original democratic experiment to reinforce the state and the way in which it is experienced by its citizens. The ‘état civil’, (a declaration of civil status or public record) is the first document attributed to a newborn child. Parents who do not register their offspring are later unlikely to send them to school; an unregistered marriage exposes a spouse to the threat of repudiation; in the case of an unregistered death, an inheritance is likely to be decided by the uncertain rules of tradition, rather than by law. Blonba has been working alongside the territorial administration, the Pnud and Unicef on a programme of televised ‘Education for Citizenship’, in which the question of ‘Documents’ occupies a


central place. This project, firmly anchored in a Malian approach to cultural life, is beginning to change behaviour and is provoking intense public debate. The campaign, whose objective is to enrich and prolong the debate through the production of postcards, posters and exhibitions based on ‘questions and answers’, and a large exhibition that will tour the country, is designed by Claire Darmon, Margaux Elissalde, Pauline Ghislain, Thibaud Kelfa, and Julien-Pierre Mallet. The ‘Documents’ project is reinforced by a character called ‘Papiètan’ (No-papers), whose role is played on-screen by Tièble Trauré, a popular actor. Although the campaign targets the entire population, it is primarily directed at key network structures such as national government, local government, schools and the public service sector. The campaign is reinforced by regular television broadcasts. Educational leaflets ‘Documents’ are distributed in town halls and mayor’s offices, schools, health centres, administrative centres and NGOS. Campaign material Leaflets, postcards, posters




AGAINST RACISM FOR CIVIL COURAGE CLAUDE ASSEL, WERNER GREGORI AND GIOVANNI CORSARO The name ZARA is a German acronym of ‘Zivilcourage und Anti-Rassismus-Arbeit’, which means ‘Civil courage and anti-racism work’. It was founded in 1999 with a mission to combat racism and to promote civil courage and a positive approach to cultural diversity. Its approach is to highlight the problem and show behavioural responses with their corresponding consequences. A graphic representation shows a single small figure, with the quote: ‘Racism bordered’. Another graphic representation shows a group of people, with the quote, ‘Civil courage connects’. The reason the campaign’s designer, Assel Claude, chose this form of representation was to set the black and white design of the poster in contrast to the coloured background . The black and white graphic should also draw attention to the serious problem of racism, while the negative form indicates negative mindsets and attitudes. Because every human being can come across racism in one way or another (as victim or perpetrator), the figures are reduced to outlines that are anonymous. The target audience are citizens from fourteen to eighty. The campaign’s objective is to shed light on prejudice, bring people closer together to try to fight intolerance, and bring about a process of change in consciousness and action resulting in a culture of acceptance. Campaign material Billboards, posters





CLEMENS SLAMA Born 04 Jan 1985, Vienna. Education: Erich Fried Grammar School, Glasergasse Wien IX. 5 years in printing and media technology with Matura, the Viennese Graphics firm XIV. 2 years at college for Graphic Design, the Viennese Graphics firm XIV. Currently gives master-classes in Graphic Design, the Viennese Graphics firm XIV

The rotating column combines the images of people from different origins. The middle section of the column is fixed, and the top and bottom sections change to create various combinations. One could be a person with the head of a Japanese man and the skirt of an African woman with light-skinned legs wearing trainers. The rotating images thus generate â&#x20AC;&#x2DC;mixed ethnicâ&#x20AC;&#x2122; characters. It was designed by Clemens Slama, Werner Gregori, Giovanni Corsaro and Hermann Schindler, and its aim is to increase awareness that there is no place for racism or discrimination in a world without borders. Everyone should be aware that any of us could have been born as someone else. Another person potentially exists in everyone! The campaign is not aimed at any group in particular; its objective is to raise awareness of the ZARA organisation, to generate more contact and funding. Campaign material Rotating advertising column






ALESSANDRO RUZZIER AND SABINA BONFANTI Sabina Bonfanti, architect and designer, believes that fragments often make much more sense than the whole. Alessandro Ruzzier explores the world through photography, video and music. The two work in creative association on graphics and exhibition design.

GOAP is an association of female operators and volunteers who run the Anti-Violence Centre in Trieste, Italy. The centre, which is sponsored by local authorities and social services, guarantees anonymity to women seeking assistance. The creative campaign developed by architect Sabina Bonfanti was named ‘Per una casa rifugio’ (Creating a Shelter), and focused on domestic violence against women. It helped to raise funds to establish a shelter (a flat or a small refuge house) at an undisclosed address where women who fear for their physical and psychological safety can stay and recuperate after leaving the place where they were subjected to domestic violence. In addition, the campaign aimed to raise public awareness about the theme of domestic violence in the family, in order to challenge common preconceptions and promote the activities of GOAP in general. The intended audience was broadly divided into two groups: first, the women who were actual victims of domestic violence and people who were aware of an abusive domestic situation, and second, members of the general public who were willing to contribute to the shelter project. To convey the message about such a ‘sensitive’ subject, Sabina Bonfanti and her team decided not to address it through direct graphic representation. Instead, they preferred the more subtle description of an ordinary-looking domestic environment, where signs of physical and psychological distress were becoming apparent. GOAP reacted positively to the design concept, realising that the proposed strategy was appropriate to their objective. Consequently, the campaign was developed with constant interaction between GOAP and the studio, resulting in a high level of cooperation between the designer and the client that made everybody’s work easy. It was finally launched in November 2000 in the City Hall of Trieste. The concept developed by the designer, Sabina Bonfanti, and the photographer, Alessandro Ruzzier, depicted four situations associated with the keywords: violent, domestic, mess, daily. These keywords were chosen because they are supposed to be representative and common to all domestic abuse situations. Campaign material Brochures, posters


Posters printed on Magno Pearl 220g/m²

Brochures printed on Magno Pearl 170g/m²



ANDREW HALE Creative Medialab was launched in Autumn 1999 as a collaboration between industry and education. The principle aim of this partnership is to research, produce and market public service advertising campaigns that increase awareness of social issues and effect changes in social attitudes. By combining the creative energy and talent of students, advertising agency expertise and leading edge technology, Creative Medialab produces cost-effective advertising solutions for charities and the voluntary sector. This is a unique opportunity for undergraduates to gain professional experience and showcase their work to the benefit of worthwhile causes.

Working initially with a brief from Wycombe’s Women’s Aid, Creative Medialab, in conjunction with Buckinghamshire Chilterns University College, developed a poster campaign dealing with a number of aspects of Britain’s biggest hidden crime: domestic violence. It has been used by several police forces and district councils, and can be personalised and branded to both local Women’s Aid agencies and national organisations, including Milton Keynes Women’s Aid (MKWA). The posters were designed to work in a range of sizes, from A3 landscape to large roadside billboard. MKWA is part of Milton Keynes Domestic Violence Forum, a two-year project designed to reduce repeat victimisation and offending from recorded domestic violence within the Borough. MKWA had been made aware of Creative Medialab’s poster campaign, and approached them for assistance in planning and implementing their own campaign. The strategy of the poster campaign was based on three simple truths: first, domestic violence was receiving a lot of publicity, which was a good thing; second, many organisations were producing their own publicity, which was not always a good thing; third, dedicated, hard working people were duplicating work and effort by producing very similar advertising messages. Creative Medialab identified four different aspects to be tackled by the campaign. A public awareness campaign to put domestic violence at the front of the public’s mind, covering all adult age and socio-economic groups: the subjects used were policewomen, school-teachers and nurses. Making the public aware that domestic violence is a crime, again talking to the general public, helping them to understand and be prepared to help victims: the subject used was a doormat. Making victims aware that practical help was available, talking to the victims, giving them hope, and encouraging them to act immediately in asking for help: subjects used were ‘fight back’, ‘make up’ and ‘negligee’. Making victims and perpetrators aware that the police and the courts actively pursue perpetrators of this crime and encourage victims to call the police, stop violence and make perpetrators afraid of the punishment. Campaign material Advertisements, direct mail, flyers, postcards, posters, stickers





MANUELA PFRUNDER Manuela Pfrunder was born in 1979 in Luzern, Switzerland and lives and works in Zurich. 2000 graduated in Graphic Design from the Lucerne School of Arts and Design following work experiences in Zurich, London and New York. Since 2004 she has her own company Gestaltung Manuela Pfrunder GmbH, www.molton.cc, 2004 Concept and Design for the new Swiss banknotes.


‘What would the world look like if all human beings had precisely the same resources at their disposal?’ This question is posed by designer Manuela Pfrunder in her book, ‘Neotopia, Atlas of equitable distribution of the world’. Neotopia is the vision of a world in which everything has been redistributed to achieve radical equity. Every person and every child would have the same rights and therefore be entitled to claim an equal share of the earth’s aggregate resources. Based on statistics that reflect the current state of the world, Manuela Pfrunder redefines the concept of ownership: each individual receives the same proportion of everything. What then does each person own? How large an island, how much ice? How many years do we live in luxury? How long do we suffer from starvation and how many years does it take before we can get a new pair of jeans? ‘Neotopia’ attributes a plot of land to each of us measuring 291.5 x 291.5m with an Arctic and an Antarctic region, desert, farmland, and urban land, with the freedom to utilise these resources as we see fit. The book was commissioned by UNICEF, the United Nations Children’s Fund that works for the survival, development and protection of children and was funded by the Sappi Ideas that Matter programme. ‘Neotopia’ entices the reader to think about and discuss children’s development in light of equal opportunities or lack thereof. Campaign material Books, posters

Books printed on Magno Pearl 135g/m², 170g/m² and 250g/m²



MICHEL DE LAUW SASAM (Anti-Stalking and Anti-Mobbing Foundation) is an organisation helping and supporting women who are victims of abuse in their own home. Whether physical abuse or mental harassment, the main objective of this campaign is to remind women that submission and violence should never be accepted. Married or not, every woman deserves the utmost respect of her integrity. Michel De Lauw and Erik Vervroegen thought it important not to shock the viewers of the campaign. They wanted to evoke violence without using violent imagery. The dark mood of the visual makes the ring the focus of attention. For some it might only be a detail, but for the woman involved in an abusive marriage, her wedding ring becomes the symbol of her distress, like wearing barbed wire on her finger. In Belgium, one woman in five is a victim of harassment. Campaign material Postcards, posters


Postcards, posters printed on HannoArt 200g/m²



PETER FELDER, ANDREAS GANTNER AND GEORG ALFARE Imagine feeding 600 homeless Brazilian children for just €0,07 a day! That’s exactly what Peter Felder, Andreas Gantner and Georg Alfare have achieved with their ‘20 Dinge zum Teilen’ (20 Things to Share) campaign. A friend of theirs, Bishop Alfredo Schaffler, has been helping street kids in the province in Parnaiba for over 30 years, providing them with one hot meal a day. The team designed a flyer and a box holding 20 cards. The idea of the collection of postcards relates to the concept of sharing in two ways: the buyer of the box ‘shares’ his money with the street-kids, and the postcards with his peers. Felder, Gantner and Alfare believe that ‘sharing unites, sharing enriches’. The front of the card shows ordinary, everyday consumer goods accessible to the average European – familiar things: a chocolate bar, a cigarette, a car wash. The text on the back of the card (e.g. ‘A bar of chocolate costs €1.09’, a dinner for the street-kids of Brazil costs €0.07’) works as a powerful contrast. ‘We want to challenge the readers, showing them the relativity of things’, say the designers. But the thinking process doesn’t stop there. We might wonder, what are our trivial things worth, what could we buy for people in Brazil with that amount of money and how necessary is it for us to spend money on items


that are not vital? All the postcard boxes were sold within just 4 weeks at €7.27 each, providing enough money to distribute 60,000 meals to the street-kids in Brazil. Campaign material Flyers, postcards in box, posters

Postcards printed on Magno Matt Classic 400g/m² Flyers printed on HannoArt Silk 170g/m²



ASTRID YOUNG AND RICHARD BAYER Copywriter and designer, Astrid Young B.A. Creative and Art Director, Richard Bayer B.A., 1968 born in Linz, 1986 Matura Kollegium Aloisianum, 1993 applied Masters Paolo Piva, Vienna 1994 applied Masters Walter Lurzer, Vienna 1995 Art Director and Designer in national and international advertising agencies, 1999 founder of sub. advertising, communication, design agency.

Streetworkers MJA is a group of social workers helping disadvantaged kids aged between 6 and 25 in Upper Austria. Their work takes them on to the streets – right where these young people are – listening to them articulating their problems, needs, wishes, interests and dreams. Another aspect of the Streetworkers’ job is to observe and document real life situations as experienced by these children and young adults as well as to evaluate the causes and effects of their social disadvantage. They then take the youths’ concerns to the authorities to raise awareness and lay the ground for change in society at all levels. The Streetworkers are companions, advisors, supporters and mediators. In order to give the project the visual impact it deserves, Richard Bayer’s idea was to provide the kids with disposable cameras to record their everyday lives. They took more than 16,000 photos over two years, which were used in the campaign and are part of this selection. The printed ads – reinforced by the claim ‘Respect needs no prescription’ – are broken down into four distinct themes which youths are faced with on an everyday basis. Headache (Kopfschmerzen): many kids ‘rack their brains’ over where to find their next fix. Streetworkers help stabilise the health of addicts and encourage their motivation to quit – with respect. Sleeplessness (Schlaflosigkeit): worries about finding a place to sleep keep many homeless kids awake. Stranded and rejected, Streetworkers help them find a bed for the night – with respect. Indigestion (Verdauungsstörungen): everyday problems often get stuck in one’s throat. Streetworkers help young people digest their personal conflicts – with respect. Streetworkers regularly look after over 1,000 young people dealing with family, work and education issues, lack of money, conflicting relationships and alienation. Hair loss (Haarausfall): for many, physical differences are still an issue. Streetworkers address aggression and prejudice at their root, as they often have to deal with extreme violence and radicalism. The campaign includes folders, flyers, posters, a calendar, logo and stationery design and a website launched in the summer of 2003. Campaign material Billboards, brochures, business cards, calendars, flyers, folders, posters


Business cards printed on HannoArt Matt 250g/m²

2002 > EDSA // GERMANY


JANA DITTRICH, ANNE GLÄNZEL AND CLAUDIA TÜRP They are three creative female designers following individual paths together. They met at the ‘Ecosign / Akademie fuer Gestaltung’ through joint project work. They are a small, focused team, with substance. Together with well-known partners, they offer a comprehensive and powerful network for the project-specific enhancement of their potential. For them, every job starts with the customer – not only on paper. Because it is only if they understand the inner structures, the self-image, the reality and the objectives of their customer that they find the right visual solution to convince, which is received equally well by customers and target groups.

The aim of the Symbiose campaign is five-fold: to promote Edsa, the European Down-Syndrome Association Germany, to enhance the public’s sensitivity towards people with Down syndrome, to create a positive image of them in the public’s mind, to encourage Edsa’s function as a meeting point for people with Down syndrome for the exchange of information and experiences and to request support for the foundation through a donation hotline. The aim of Edsa founded in 1992, is, in turn, to help people with Down syndrome live their life as independently as possible, be it at work, at home or during their leisure time. It champions their interests to create living conditions suited to their individual capabilities. “We are trying to break down the negative images still linked to Down syndrome”, says Anne Glänzel of Nonmodo, a design company made up of herself, Jana Dittrich and Claudia Türp. “To reinforce this sense of positiveness Symbiose is aiming for, we have chosen flowers as a universal symbol. The headlines feature different flower names backed by the slogan ‘With the right climate he/she will blossom’. What we are trying to emphasise with this combination of words is the fact that people living with Down syndrome need an especially happy and positive ‘climate’ if they are to realise their full potential”. A wide variety of supports were used for this campaign; posters which appeared on Cologne’s city walls, a flyer, a brochure, a one-page calendar as well as publications in numerous magazines and newspapers. A book, enhanced by images, dialogues and narratives tells the story of a woman living with Down syndrome and provides a lively description of her zest for life. Finally, two types of postcards with three different motives were created; the first one appears as a standard postcard distributed in restaurants and bars, the second postcard contains a mixture of seeds that can be planted in any garden. This further emphasises the metaphor of flowers and gave the consumer something stimulating to identify with. With this campaign, Nonmodo hoped to capture the imagination of a wide range of people, keeping them from equating individuals with Down syndrome with the challenges they face, seeing them instead as the friendly and happy people they are. Campaign material Billboards, books, brochures, calendars, CD sleeves, flyers, postcards with seeds, posters





DANIELA HÖHMAN, ARNE SCHEUERMANN AND SILKE KAMMANN Diakonie Niederberg is a local welfare organisation affiliated to the Protestant church in the Rhineland. It offers various services: social assistance for adolescents and families, help to the homeless, domestic care, debt advice, addiction advice, etc. ‘Our quiet campaign aimed to encourage older people and their families to seek help to ameliorate their everyday lives,’ explains designer Daniela Hohmann. ‘That is the reason we chose not to show ‘active seniors’ engaging in ‘noisy activities’ as seen on television these days, but instead human beings who accept their weaknesses. They self-consciously ask for help and thus improve their quality of life’. The visuals show photographs of older people and their families in their real environment. They are seen at home, in their living room, in the kitchen, listening to music or walking outdoors. They are seen giving and receiving affection


and enjoying life. All the models featured in these ads could be patients/clients of Diakonie Niederberg. The text informs us about the organisation behind the smiles and quality time older people enjoy. The headlines feature witticisms which are difficult to translate but which comment on Diakonie’s efforts in a humorous manner. One of the pictures, for example, clarifies what Diakonie’s ‘sports programme’ entails: having enough time to ‘study’ soccer news attentively in a well-known German sports newspaper. The campaign aimed to replace Diakonie’s old image as a pure healthcare service and present its new and extended service; Diakonie assists you so that you can have time for yourself and your own life. Daniela Hohmann and her colleagues met at university. Their agency specialises in corporate and social advertising. They have often experienced the fact that clients from social organisations are won over by courageous and innovative designs. Daniela Hohmann concludes, ‘These clients challenge us with difficult but rewarding assignments. The fact that they appreciate advertising and design reassures us in our claim to produce sensible, that is to say, reasonable and affordable design’. Campaign material Advertisements, billboards, booklets, postcards, posters


Booklets printed on Magno Pearl 170g/m²



SANDRA POLLMANN The mission of the Medico International organisation is to ensure that certain health and social standards are respected in society. It also promotes and supports the German government’s Initiative Against Landmines which calls for the prohibition of the development and exportation of landmines. Designer Sandra Pollmann created the campaign as part of her final year project while a student at the Fachhochschule in Düsseldorf, where she currently lives and works. The brochure produced for the campaign outlines the history and implications of landmines and provides detailed information. The copy presented in the brochure is made up of children’s songs or nursery rhymes whose last sentences feature a twist, evoking the landmines problem. ‘It is a way of grabbing the reader’s attention’, says Sandra Pollmann. ‘It challenges the


reader who is unexpectedly confronted with the landmines issue linked to childhood’. This element of surprise was used throughout. When published in a newspaper, the copy ‘reacts’ to the latter’s editorial content. When the message evokes the medical costs of a landmine victim, the ad was placed in the stock market section of the paper. If mention is made of missing feet and the fact that the maimed victim may never be able to play football or need shoes again, the ad appeared in a sports magazine. All ads end with the claim: ‘Invest in life’. The campaign also challenged the reader with plenty of disturbing facts, for instance: 26,000 people are mutilated or killed every year by landmines, 40% of them are children under the age of 15. By appearing in newspapers and magazines, Sandra Pollmann’s work contributed to long-term public awareness of the landmines issue. In addition, there was a multiplication of readers’ hits on Medico International’s website. Campaign material Advertisments, brochures

Brochures printed on Magno Matt Classic 150g/m²



DAVID MATHY, JEAN-FRANÇOIS LÉONARD AND PHILIPPE SCHWAAR Many young people feel alienated from the society they live in. Often unable to change their condition and lacking the communication tools to express their innermost feelings of resentment, they end up engaging in hostile or even violent behaviour towards their community. Jeunesses Musicales International (JMI) is a youth organisation dedicated to the development of youths’ culture through music. By encouraging young people to partake in competitions, youth orchestras and music camps, JMI enables them to develop both their talents and communication skills through a shared love of music. For Philippe Schwaar, Art Director with the company Dentsu BLD Europe, it was important to create a genuine empathy emanating from the visuals of the campaign. “Young people are naturally cynical about advertising. Any hint of insincerity or, even worse, any attempt to patronise them, and they will reject it immediately”, cautions the designer. “We wanted to show that we understand the frustrations


endured by a lot of youngsters”. Through the powerful reportagestyle photography by photographer Jo Voets, Philippe Schwaar and his co-workers achieved a no-nonsense campaign reflecting the harsh lives of their target group, while conveying a strong message of hope for the future. Campaign material Postcards, posters

Postcards printed on Uni Matt 250g/m² Posters printed on Magno Star 170g/m²



RIKKE ØEN AND CHRISTINA LIND The Pro-Senteret is a social service whose aim is to provide help, support and advice to men and women involved in prostitution in Norway. The centre has been in service for 20 years, working towards a change in public opinion, encouraging a better understanding of prostitution and hoping to demystify it. The voice of people involved in prostitution is rarely listened to in a direct way. Remedial economic or social action and support from the government tend to take into consideration only part of the related issues. Indeed, the Norwegian government addresses trafficking primarily, disregarding the fact that prostitutes are individuals, not a homogeneous group. Prostitution comes in various forms and includes men, women and children from all walks of life. Also, half the number of prostitutes who were in contact with the Pro-Senteret in 2003 came from Eastern Europe, Thailand or Latin America. The campaign was addressed at decisionmakers, but also at the media, who are responsible for sustaining an erroneous image. Prostitutes are usually associated with drug abuse, theft and serious crime. In addition, they are seen as weak


and unable to control their own lives. ‘When mention is made of a prostitute, a negative, ‘hooker’ image comes to mind’, says Rikke Øen, designer of the campaign. The public forgets that prostitutes are also parents, shoppers, voters and taxpayers. To this effect, the photographs making up the campaign show regular looking people: men and women in their homes or on the streets going about very ordinary activities. The campaign also pointed out that prostitution is not a condition: most of the time, it is a choice made by fully active, conscious human beings. A broader understanding of prostitution will lead the public to realise that prostitutes should neither be condemned nor pitied. Campaign material Books, cards with attached condom pack, magazines, postcards

Books printed on Magno Matt Classic 135g/m² and 300g/m²



MARK MÖLLENBRUCK The experiment took place on a busy Saturdayshopping afternoon on the Königsallee, Düsseldorf’s magnificent mile, with its rows of Italian designer stores selling the finest imported goods, leather, jewellery etc. As if appearing from another era, two Franciscan friars stood by a cardboard cross, laid out on the pavement as a powerful memento mori for the frantic shoppers, but also the simplest expression of the fate of the homeless. If you live on the streets, you die. The fragile cardboard shelter unfolds into a cardboard grave. But for the Franciscan brothers, it also unfolds into the Christian symbol of hope. This is how the friars started telling the story behind their mission and explaining how a donation could help them improve a homeless person’s life. Some people stopped in their tracks, realising they were stepping on a cross, others walked on, pursuing their consumerist craving to satiety. ‘A most interesting social study,’ remarked Mark Möllenbruck, former member of the agency TBWA. With the help of several co-workers (psychologists, social workers, etc.) four friars attend to people plagued by unemployment, poverty, physical handicap or, less tangibly, social


contempt. They offer help on three different levels: permanent, semi-permanent and temporary. All levels offer the homeless comparatively high quality accommodation to create a momentum for a life beyond the streets. The semi-permanent and temporary shelters also act as a springboard for finding a job and preparing to move to a place of their own. In addition, the Franciscan brothers provide employment opportunities for contract work in gardening, landscaping or construction, to name but a few. The shelters exist thanks to donations and the sales of the Fiftyfifty magazine, a project which has also won the Sappi Ideas that Matter award. There are over 500 people benefiting from the Franciscan brothers’ various services. Campaign material Postcards, posters, stamped cardboard flyers

Posters printed on Uni Matt 130g/m²

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as an evil side, where things that people don’t at Matter was a great lls to serve a social cause nd benefits of the te environment. SANTI SÁNCHEZ > CREATIVE DIRECTOR



FELIX HORNUNG 1999-2005 Graphic Design Studies, DUS–Düsseldorf, University of Applied Sciences; 1999-2000 4 months Traineeship at Advertising Agency Aim, Düsseldorf; 2000 2.5 months Traineeship at NBC Giga, Düsseldorf; 20012005 Freelancer for RP Online, Düsseldorf; 2005–2008 6 months traineeship and permanent position as typesetter at Cayenne Advertising Agency, Düsseldorf; Web designer at Euroweb Internet Agency since 2008.’

Fiftyfifty provides social assistance for the homeless by providing places for them to sleep and to live, by providing food, counselling and help to reintegrate into society. The organisation is financed by collecting donations and selling art contributed by famous German artists and subsequently sold by Fiftyfifty for much less than the market price. But Fiftyfifty is above all a magazine sold by homeless men and women, earning half the amount of each copy sold plus whatever the purchaser is willing to donate. Through this initiative, the homeless can escape from a life on the streets where they have to beg to survive, to a life based on earning their income with a decent job. In the past eight years, thanks to the magazine, about 2,000 homeless people were able to get off the streets of Düsseldorf and into their own apartments or rooms. In order to get the point across instantly, the campaign showed animals that have lost their natural homes beside Fiftyfifty’s special edition featuring the missing item, in the hope that through it the two will be reunited. The German idiom ‘halbe Miete’ literally translates as ‘half the rent’, but it also acts as an encouragement to a person who has already won ‘half the battle’. In this particular case, a person selling the magazine has already won half the battle against his or her homelessness since each sold copy brings that person closer to paying the rent for his own home. Fiftyfifty magazine received highly positive feedback following the ‘halbemiete’ campaign. It increased its print run by 26% as a result. The magazine was the first special edition ever to be sold out (9,000 copies). Campaign material Billboards, postcards, special edition magazines





ISABELLA VON BUOL, MILA PAVAN, ALEXANDRA LUCATELLO AND FRANZISKA RAETHER Isabella von Buol, grew up in Italy and Germany, studied in Milan, Montreux and the USA. She graduated at the Art Centre College of Design (Europe) in Communication Design in 1991. Her career started in New York where she worked for internationally known agencies such as Milton Glaser and Carbone Smolan. In 1998 she founded Pure Oxygen Design, a studio for communication design based in Munich. She has received numerous design awards for her work.

Altenhilfe Moskau is a Munich-based charity organisation providing medical and social care to the ‘forgotten’ elderly of Moscow. These services consist of a retirement home and mobile social services. The organisation also collects donations in Germany and through them hopes to expand its services in Moscow. Founded by Isabella von Buol, design studio Pure Oxygen has been working with Altenhilfe Moskau since 2001. When asked why not help the elderly in Germany or the children of Africa, Isabella von Buol responds, ‘Our motivation is not limited to a location, nor is it limited to a particular age group. I would call it a far-reaching spiritual affection expressed through art. In this case, it means caring for people who are not part of our affluent western hemisphere, who don’t benefit from an all-encompassing social security and pension system.’ For the team, being down and out and 80 in a Russian winter seemed like an extreme enough situation, worthy of making people stop and think for a moment. Having travelled to Russia quite extensively, designer Isabella von Buol and photographer Mila Pavan were shocked by the deplorable living conditions endured by old people. They visited some retirement homes where up to fifty elderly people could be crammed into one room, often attended by someone who isn’t even a nurse, left in their own filth, waiting for death. A travelling exhibition of photography with supporting advertising material made its way through art galleries in Switzerland, Germany, Italy and Austria, but not Russia. Isabella von Buol says, ‘In my opinion, the Russian public seems to dislike and ignore this reality’. Since the photos for the campaign were all taken by from a ‘western’ perspective, the team wanted to include elements created by Russians. To this effect, Russian contemporary poetry, previously published or written especially for the project, enlivened the book’s pages and infused them with beauty. Campaign material Books, invitations, leaflets, photographs, postcards, posters


Books printed on Magno Pearl 150g/m²




RONIT MEIROVITZ, ISABELLE JEGO, ALEX JORDAN AND VALÉRIE DEBURE 1 February 1954, 1:10pm, a breathless voice emerges on the airwaves of a famous radio station; ‘Friends! I need help! A woman has just died, frozen, on the pavement of the Sebastopol Boulevard! Every night, there are over 2,000 people freezing out on the streets, without a roof, without bread. We need 5,000 blankets by tonight, tomorrow at the latest.’ It was the Abbé Pierre making his now legendary appeal: a young French priest and social worker who made it his mission to save the homeless. He did so by renting a big house to provide shelter, by organizing conferences on the subject and setting up emergency camps for the most needy. Over fifty years later, Emmaüs, the organisation he set up, still fights for the eradication of poverty and the pursuit of human solidarity, but what was supposed to be a temporary solution has become an international movement with employees, volunteers, donors and many members in Paris and its outskirts alone. Nous Travaillons Ensemble is a graphic studio set up in 1989. Its clients are mainly city councils, institutions, charities and educational organisations.


Its continuing cooperation with Emmaüs began in the year 2000. For the 50th anniversary of Abbe Pierre’s appeal, Nous Travaillons Ensemble created a new campaign aimed at raising awareness among the Parisian public of less well-known problems afflicting the homeless and the poor. The difficulty of renting an apartment on very low income, the fact that summer is just as hard to get through for a homeless person as winter, and the disastrous consequences of illiteracy. The three visuals featured strong colours and simple graphics, stripped of any adornment or compromise. The campaign was posted in all the busiest places in the French capital: metro stations and the streets themselves. The postcards were distributed from February 2004 as a means to alert the public to the deterioration of the living conditions of thousands of individuals. Campaign material Billboards, postcards, posters

Posters printed on Magno Matt Classic 135g/m²

The ‘Ideas that Matter’ Ca Chance UK to put their ‘Yo campaign into practice. It general and black men in as role models for childre difficulties. It brought a hi coverage and a positive lo profile leading to a 20% in

mpaign allowed u Got Any Better Ideas?â&#x20AC;&#x2122; challenged men in particular to volunteer n with behavioural gh level of media ng-term impact on our crease in mentors. LES MEAR > GRAPHIC DESIGNER



PAUL DAY Paul Day has worked as part of Whiteshirt Communications, a small design and communications consultancy, for almost 10 years. We specialise in using ideas to engage, encourage, provoke and challenge. Recently we have worked with many charities and other organisations including the Guide Dogs for the Blind Association (branding, campaigning, online and educational Campaigns, such as ‘Shades for a Day’, and ‘Guide Dogs at School’); The Houses of Parliament (‘Your Parliament’ exhibition and education programme); Drinkaware (rebrand), John Grooms (national disability charity); CLIC-Sargent (rebrand for the largest UK charity for children with cancer); VSA (branding and communications for Aberdeen based charity); ACEVO; Food Standards Agency; and borough councils. Our Arts activities include public projections to celebrate the life of Edward Muybridge; a travelling sitting room filled with furniture, knick-knacks and a reciting poet; ‘My life in a box’ – involving hundreds of art-pieces from people of all ages; and a giant game of ‘Mouse trap’.

Most people in the UK know of the Guide Dogs for the Blind, which has been in existence for 70 years providing services that bring mobility and independence to blind and partially sighted people, as well as campaigning for their rights and freedoms. But what rights and freedoms? How do they differ from ours and why stress their differences? Paul Day says, designer of the campaign, ‘Society needs to alter its behaviour and take simple steps to allow blind and partially-sighted people to fully integrate. For example, if restaurants refuse to allow guide dogs to enter their premises, the blind or visually impaired cannot participate in a full social life’. The Guide Dogs association contributes by providing ophthalmic research grants and educates the public on how to look after their eyesight. Most eye conditions can indeed be treated if diagnosed early but in the UK, many treatments or surgical interventions are only available through private medical care. ‘Our campaign was aimed at key decision-makers,’ says Day. ‘We urged government, journalists and the health service sector to start down the long road towards government funding of proper eyehealth education and screening.’ This road may one day lead to the fulfilment of a dream held by many blind people, that cures and preventions may be found for all eye conditions, so that no children will have to live with vision impairment or need a guide dog. The campaign consisted of what appears to be a pack of holiday photographs; however, each one has a graphic representation of an eye disease superimposed. Each piece explains the eye condition and gives information on prevention and treatment. To find out what an image looks like to visually impaired people, Paul Day and his team worked with a group of people with impaired eyesight who could nevertheless confirm the representations created by the designers. Paul Day concludes, ‘We believe that by encouraging people to imagine what many thousands of partially sighted people see through damaged eyes, we can encourage both understanding and a better attitude towards eye health’. Campaign material Holiday photographs, wallet prints


Holiday photographs printed on Magno Matt Classic 200g/m²

2004 > CHANCE UK // UK


LES MEAR AND MICHELLE VALENTINE Chance UK is a registered charity that organises mentoring programmes for 5 to 11 year olds with behavioural difficulties who are at risk of developing anti-social or criminal offending behaviour later in life. The innovative, individually tailored programmes are delivered by carefully screened and trained volunteer mentors. The aim of Chance UK is to intervene early in the lives of vulnerable children to help them and their families begin to build a brighter future by introducing more stability into their lives and reducing the isolation the children and their families may experience. It supports the children as they find the motivation and life skills they need to move forward. Vitamin V, a London-based marketing and communications company is committed to using its skills to put as much back into the community as it can. Its campaign created on behalf of Chance UK has given it the opportunity to do exactly this. Les Mear and Michelle Valentine opted for a provocative approach using dramatic images and controversial copy lines. The intention was to make potential male mentors understand how much is expected of them. The scale of the campaign they produced enabled Chance UK to reach many more potential mentors and also raise awareness of the


critically important work it does within the community. A multitude of communication channels were used to expose the message including outdoor billboards, posters, buses, bus shelters, brochures and postcards. According to the team, the â&#x20AC;&#x2DC;You got any better ideas?â&#x20AC;&#x2122; campaign was one of the most successful ever for Chance UK, both in terms of direct response of the correct target audience, and mentor recruitment numbers. The campaign also generated a lot of publicity resulting in the Chief Executive Officer of Chance UK being invited onto a television show to talk about the programme. Campaign material Billboards, brochures, bus rear and internal panel advertisements, bus shelter advertisements, bus tickets, folders, postcards, posters

Posters printed on Magno Star 300g/m²

Bus shelter advertisements



TEREZA BREDLEROVÁ TEREZA BREDLEROVA, Born 1975 in Karlovy Vary. 2006 Masters Degree, 2001 Bachelors Degree, University of J.E.Purkyn in Usti nad Labem, Faculty of Art and Design Graphic Design; 1996 Degree in Applied Graphics, Private Master School of Artistic Design, Prague; 1993 Earthenware studies, Secondary School of Glass and Ceramics, Karlovy Vary. 1998 poster, painting, graphic design lectures Lech Majewski, Mieczyslaw Waszilewski, Warszaw Acedemy of Arts; 2000 Workshop on the theme ‘Love’ Usti nad Labem; 2002 poster, painting, graphic design, book graphics lecturers Lech Majewski, Mieczyslaw Waszilewski, Macej Buszewicz, Warszaw Academy of Arts; 2003 and 2004 Workshops on the theme ‘The Flag’ and ‘ Discrimination’, Usti nad Labem. 1998 winner of the contest for the logo of Prague – European City of Culture 2000; 2004 International Biennale in Warszaw, Poland + Honorary mention poster ‘I love war in spring’; 2005 SAPPI Award. Publications: 2002 Magazines Etapes, 2004 Gebrauch Graphic Magazine.

More than a decade and a half after the end of totalitarian rule, freedom is still a concept that still did not come easily to some of the people who live in the Czech Republic, as Tereza Bredlerova’s daring campaign showed. Odvaha Rešit (Courage to Cope with) is an organisation dedicated to helping ethnic minorities and socially excluded communities integrate into Czech life. It offers a range of social services to the marginalised, the homeless, people without education and children from broken families. But the most important hurdle faced by Odvaha Rešit is xenophobia. So the campaign designed by Tereza was intended to ameliorate feelings of ‘otherness’ and encourage the public to engage on the subject of racial differences. An arresting series of posters showed a number of people dressed in a range of headdresses representing different nationalities, religions and groups within Czech society. But the face of each of the subjects is blank. The interactive device invites the viewer to imagine themselves in each of the headdresses, and implies that what people wear, the colour of their skin, the religion they practise – none of these factors is as important as who they are inside. The posters were displayed extensively in schools, youth clubs and art galleries, even at lectures in two towns. Along with the posters, leaflets using the same attention-grabbing concept were distributed, and the public was asked ‘What is your relationship to people who are different?’ Respondents could make their views known on postcards provided or on a website. Unfortunately, the negligible response didn’t reflect the power of the campaign or the depth of its provocative imagery. But Tereza remains optimistic, ‘Even though, 16 years after the end of the totalitarian regime, people were still not used to presenting their ideas and views openly, directly and in public. As the first interactive campaign, we believe that our project has contributed to the development of civil society and to the fight against social exclusion in our region.’ Campaign material Brochures, CD stickers, envelopes, leaflets, letters, postcards, posters, visiting cards


Visiting cards printed on Hello Silk 300g/m²

Posters printed on Hello Silk 115g/m²



YVONNE GRELLER For Europeans, particularly in wealthy countries like Germany, images of poverty are generally associated with Africa and the third world. But to be confronted with poverty and starvation at home, on our doorsteps, right under our noses, is often shocking. For the poor and hungry of Cologne, an important source of subsistence is the charity Die Kölner Tafel, an organisation staffed entirely by unpaid volunteers who collect donated food from supermarkets, hotels and other large suppliers and distribute it free of charge to the poor, the homeless and the hungry of Cologne. Die Kölner Tafel also provides an important social mechanism, giving the people of Cologne a way in which they can help their fellow citizens, and feel the joy that comes with giving unselfishly. It was this combination of shock at the levels of starvation in Cologne, combined with the pride of doing something about it that inspired Yvonne Greller – then a student at Fachhochschule, Düsseldorf – to develop her campaign. Visually, the ads show the two towers of Cologne Cathedral, one with a giant bite taken out of it. The message was twofold. On one hand it uses the cathedral (a symbol of pride and strength for the people of Cologne) to show that there is a problem in the city. On the other hand, it speaks far more graphically of the hunger in question. Appearing in three different newspapers,


the campaign had an immediate impact. With soaring awareness levels and widespread recognition and support for Die Kölner Tafel, Yvonne was interviewed on local radio. Originally produced on a small budget, a new series of high quality brochures, flyers and postcards were subsequently reprinted. Thanks to the Sappi sponsorship, Die Kölner Tafel and the hungry people of Cologne who depended on them then had more support than ever. Campaign material Billboards, brochures, leporellos, postcards, posters




CLAUDIA KLAT AND DOMINIQUE BERREL The youth, the homeless, the unemployed, drug addicts and alcoholics, each one a star striker, defender or goalkeeper in the making, with a sense of purpose and a bright future. This is the mission of in-kick.org, a project of Switzerland Sports Integration, which takes those marginalised by society and reintegrates them through exposure to the beautiful game. It is certainly an innovative approach, and one which attracted the attention of Claudia Klat and Dominique Berrel, students in graphics and media design at the F+F School for Art and Media Design in Zurich, Switzerland. But the activities of in-kick.org are so much more serious than simply offering the homeless a distraction to keep them off the streets. Every year, in-kick.org organises the Homeless Swiss Championship, and recruits 16 star players for the Swiss Homeless National Team, and 8 players to compete at the


Homeless World Cup. So, last year, Claudia and Dominique designed ‘Offside’, a book publicising the organisation, which took the form of a diary of the Swiss Homeless national team’s preparation for the Homeless World Cup. Training sessions and qualification tournaments were presented as pages from a journal. The first few pages of the book display participating teams in the style of football stickers. For 18 chapters, the book moves to a thrilling conclusion, the 2006 Homeless World Cup in Cape Town, South Africa. Team posters completed the package, contributing further towards building the selfesteem of the players. They were made available for sale in bookshops in Germany, Austria and Switzerland, and sold on the streets of Zurich, Bern and Basel by the vendors of Surprise, the Swiss Homeless newspaper. Described as one of the ‘most beautiful Swiss books of 2006’, Offside was ‘a dynamic, lively arrangement of colour photographs and informative texts that ... convinces with its coherent visual implementation. A committed book about an unconventional and remarkable event.’ Surely the Swiss will never look at the homeless or footballers in the same way again. Campaign material Books




RONIT MEIROVITZ, ISABELLE JEGO, ALEX JORDAN, VALÉRIE DEBURE, SÉBASTIEN COURTOIS AND EBDIE CAVEL Established by the legendary Abbé Pierre during a bitterly cold Parisian winter in 1954, Association Emmaüs assists homeless people by helping them assert their right to health, education, employment and housing. To help achieve this, Association Emmaüs has launched a number of reception centres, emergency shelters and social housing programmes over the years. Since 2000, they have benefited from the help of a dedicated group of individuals at Nous Travaillons Ensemble (NTE), a Paris design agency with clients including city councils and institutions, as well as a number of charities and educational organisations. For designers Valerie Debure, Isabelle Jego, Alex Jordan, Ebdie Cavel, Sebastien Courtois and Ronit Meirovitz, this co-operation has been successful because of a shared vision of the philosophy and design: how to communicate the work of the association and how to address the misconceptions that people have about the homeless. This shared vision resulted in a campaign that received an Ideas that Matter award in 2003 and an exhibition in 2006. But it is to the topic of addressing misconceptions that they returned for their latest campaign. The designers explain, ‘Our goal was to present the clichés


surrounding the homeless through an exhibition of posters. The prevailing mood is quite provoking, the way clichés generally are. This is intended to trigger discussion among a large target group, and to be educational, lively and legible from a distance.’ They placed their challenging posters in metro stations and in schools, and cards in schools and public places. They arranged meetings in many high schools and multimedia libraries, and facilitated discussions and debates with people and students. At all events, the exhibition of posters provided a point of departure for talking about homeless people, their lack of job security and assistance, as well as how to finance social assistance. Campaign material Postcards, posters



ANNA BERKENBUSCH, MARION PINARD, SEBASTIAN HAUSTEIN, BASTIAN RENNER, WEISU HUANG, FRIEDERIKE KÜHNE, FRANZISKA STÜBGEN AND JENNY HASSELBACH During the summer of 2006, a number of tragic reports about refugees, desperately trying to escape their native countries, started appearing in the German media. Fleeing civil war and violence, political persecution, natural disasters, starvation and the hopelessness of poverty, the refugees often risked their lives and the lives of their children in a bid to reach Europe. This prompted a group of young people to examine in detail the plight of these illegal immigrants, once they arrived in European countries. Then a competition run by KMII (Kein Mensch Ist Illegal) brought the subject into even sharper focus. And once they learned about the difficult living conditions experienced by those living without documents in Europe and the hostility of local inhabitants and institutions, they set about doing something about the situation. The response prepared by Jenny Hasselbach, Sebastian Haustein, Friederike Kuhne, Bastian Renner and Franziska Stubgen, at Halle/Saale in Germany, Marion Pinard in Paris, France and Weisu Huang in China, makes for compelling reading. Their book is called ‘Geschlossene Gesellschaft’ or ‘Closed Society’


and is the result of a design seminar conducted by Professor Anna Berkenbusch at the Burg Giebichenstein University of Art and Design in Halle. It makes use of black and green to reflect the duality of safety and violence and to create an appropriate expression for people who live in constant fear of their illegal status being revealed. They also used a range of typographic treatments to reflect the immigrants’ feelings: the confusion provoked by incomprehensible legal details, the restrictions resulting from having to behave as though they are invisible, a feature further enhanced by the book’s Japanese binding which incorporates hidden content behind perforated pages. The book received extensive exposure at major book fairs in Germany, with supporting postcards and flyers, and was sent to relevant booksellers and reviewers. The public saw the book in newspapers, brochures and professional journals. the designers received an award and an enquiry from a major publisher. Campaign material Books, flyers, posters

Books printed on HannoArt Bulk 100g/m²

Flyers printed on HannoArt Bulk 150g/m²

Posters printed on HannoArt Bulk 130g/m²



FREDERICC VANHORENBEKE AND INGRID ARQUI European Network on Debt and Development is a network of non-governmental organisations from 18 European nations working on issues related to debt, development finance and poverty reduction. Frédéric Vanhorenbeke is the creative director of Coast, a multi-disciplinary branding and design agency based in Brussels, Belgium. Until recently, Coast shared office space with Eurodad. Frédéric was eager to do some work for a non-profit organisation, so his one-time neighbours seemed like a natural choice. Eurodad is responsible for collating and distributing a huge amount of information, but does not have the means to commission a design studio to bring visual impact to these reports. When Coast approached Eurodad, it was completing a study on capital flight and tax havens in the world. Through capital flight, more money flows out of emerging economies than into them. Tax havens have a negative impact on equality and social spending and are often a destination for profits from crime. Frédéric was struck by the magnitude of the problem and decided to help by building a campaign that raised awareness


of the issues. His idea was to target decision makers, rather than the general public. Strategically, Frédéric knew that this was the most effective means of gaining attention. He created a series of prints illustrating the content of the report, demonstrating how development in poorer countries was hindered by tax havens and capital flight. The report was accompanied by postcards and posters which could be distributed internally as well as globally. The materials produced were distributed by mail to more than 200 people and organisations, including about 100 politicians, 100 NGOs, several journalists and about 15 think tanks. The campaign was also advertised on Eurodad’s website and in its newsletter. The material was used and distributed during meetings with European Parliament members. The campaign raised Eurodad’s visibility and enhanced its image as a provider of valuable information. Several officials and organisations sent letters commending the relevance and usefulness of the report. Others thanked Eurodad for the material, complimenting the content and the high quality of the design work. Campaign material Books, postcards, posters, reports

Books printed on Magno Matt 135g/m² Postcards printed on Magno Satin 400g/m²

Posters printed on Magno Matt 115g/m² Reports printed on Magno Matt 150g/m² and 250g/m²

2008 > KARO // GERMANY


FELIX DEMANDT AND SÖN BECKER Felix Demandt, University entrance diploma 2005. From 2006 - 2009 Studies of Design at FH Düsseldorf - Germany. Sön Becker. From 2006 - 2009 Studies of Design at FH Düsseldorf - Germany.

KARO is an organisation involved in cross-border social work, combating sexual exploitation and working towards reducing forced prostitution and the trafficking of drugs, women and children. It is also involved in offering support and assistance to those people suffering from the consequences of human trafficking, such as drug abuse and HIV/Aids. Felix Demandt and Sön Becker, believe that society does not give these serious issues the attention they require. Under the tutelage and direction of Professor Wilfried Korfmacher, they produced a confrontational poster campaign. That people are bought and sold is a grim reality, and Felix and Sön did not want to shy away from dealing with it head on. The posters use shocking images of anonymous people as goods on display to the public. Felix and Sön used stark black and white photography of naked body parts, each one stamped like a piece of meat. The campaign’s title, ‘Streetmee/at’ makes use of a macabre pun to really drive the message home. “We felt that it was important to take this taboo subject out into the open and provoke the general public into action,” say the two young designers of their work. Each poster in the campaign had its own dark headline and shocking image. While Felix and Sön were being deliberately provocative, it was not their intention to alienate anyone. Put simply, they wanted to present the facts as they stand. ‘Streetmee/at’ wasn’t about shock tactics. Their reason for being so confrontational was not only to get people talking, but also to spur them into action by supporting or contributing to KARO. In addition to the posters were flyers and a series of postcards. Because these could be distributed, they gave the campaign a greater reach. The ‘Streetmee/at’ campaign was launched by Professor Korfmacher at the Department of Design of the Fachhochschule Düsseldorf. ‘Streetmee/at’ certainly got some attention from people. The campaign helped to boost membership to KARO, ensuring greater support for its work. Campaign material Billboards, flyers, postcards, posters


Posters printed on Hello Matt 120g/m²



SANTI SÁNCHEZ Born in Spain, 1976. Studied Fine Arts in Universidad Politécnica de Valencia, Completed his art studies with a master's degree in graphic design and a master's degree in creative advertising. He began his career as a graphic designer and art director in 2000. From 2006 to 2008 served as creative director at advertising agency Radcliffe Equipo Publicitario and is currently the creative director of advertising agency Rosebud Brand Care Agency.

Valencia Acoge, a non-governmental organisation, was set up in 1989 by people who wanted to improve the situation of immigrants in the Spanish city of Valencia. The objectives of Valencia Acoge are to defend immigrants’ human rights, encourage their involvement in society and ensure that their voices are heard. The organisation is working towards building a truly multicultural society that is accessible to all people, no matter what their background. In recent years, xenophobia has come to be one of the major problems facing Spain. Its citizens have, over time, built up prejudices against foreigners coming into the country to find work and make a home for themselves. Santi Sánchez, creative director at the Rosebud Brand Care Agency in Valencia, wanted to stand up to knee-jerk discrimination, as there seemed to be little or no communication that dealt with the issue. He set out to create a campaign that proved to the Valencian public that their prejudices were based on half-truths and ignorance. Santi’s concept was based on the idea of a visual game, in which a series of stereotypical statements were used to compose the face of a person – supposedly an immigrant. The headline ‘Words or people?’ was used to invite the public to read and reflect on the words and image. It is unusual for a poster to be so interactive and engage people so strongly, but Santi’s posters succeeded in doing so. The campaign posters encouraged people to think beyond the words that they had previously associated with the ethnic groups shown on the posters. In the process of confronting the faces of the immigrants, people examined their own misconceptions and questioned their prejudices. The campaign received much media coverage on TV and radio. A Facebook page and a blog were created specially for the campaign, and traffic on the Valencia Acoge website increased by 110%. A survey of 300 people undertaken after the campaign showed a significant change in attitudes towards immigration within Valencia. Campaign material Advertisements, brochures, diary covers, direct mail, paper mosaics, posters


Diary covers printed on Hello Matt 350g/m²

Posters printed on Hello Matt 170g/m²



ILIAS POULOS, GWÉNAËLLE PINSON, LYDIE MOREIRA, JULIEN PARIS, PATRICK FELICES, DAPHNÉ STRECK, MICHEL OLIVIER, DELPHINE SIGONNEY AND THIBAUD KELFA intuit.lab is a design and visual communications school founded in 2001 by Patrick Felices. Its aim is to produce high-quality graduates whose profiles meet the specific needs of the graphic design and visual communications sectors in France and across the world. To date, 224 students have successfully completed courses at the school, whose work placement office has built solid relationships with over 800 companies in France and abroad. école.intuit.lab's excellent success rate in finding work placements for its students means it sets a benchmark in providing vocational training for the visual communications sector. The school's graduates are awarded the nationally-recognized French title of "Visual Communications Designer" [Concepteur en communication visuelle], classified as a Level II qualification by the French Professional Certification Commission (Commission Nationale de la Certification Professionnelle - CNCP).intuit... Intuition: The faculty of being able to anticipate or guess, an immediate perception of the truth without recourse to the faculty of reason. ...lab Laboratory: Any place where a team works in the fields of invention, creation or research.


Lûlistan is an organisation that acts as a bridge between France and central Asia. Lûlistan deals with issues of freedom of expression and the exchange of ideas. For almost 10 years, the organisation has worked to support artists and institutions in the region, by attempting to decrease their feelings of cultural isolation, and by helping them develop and strengthen their artistic identity. Lûlistan stands firm in encouraging the regions to avoid European references and influence in favour of local cultures and traditions. Lûlistan finances artistic endeavours (choreography, theatre and music) as well as conferences and roundtables concerned with freedom of expression. It facilitates the donation of gifts of cultural materials (books, videos, etc) and through assistance and the coordination of cultural events. A particular project was an attempt to draw attention to the fate of Greek political refugees who are still living in the Uzbek city of Tashkent. Lûlistan’s intent was to promote the cultural development and to preserve the collective memory of this community. In October of 2008, the artist Ilias Poulos went to Tashkent to photograph and interview the last surviving members of these refugees. As left-wing Greek civil-war veterans, they had escaped to Soviet Uzbekistan in the wake of the civil war of 1946-49. This project is a work of memory and of remembrance. Every page features the face of a political refugee, alongside images of their most poignant souvenirs from the civil war years. The project is of a fragmentary nature, and can be seen as a personal record of events as much as it is a collective souvenir. Ecole intuit.lab, a school of design and visual communications based in Paris, published the book ‘Memories in exile’. The creative force behind the project was Michel Olivier and his students (Lydie Moreira, Gwénaëlle Pinson, Delphine Sigonney, Daphné Streck, Thibaud Kelfa and Julien Paris). The project was extended to become an exhibition that took place in Athens and in Tashkent. As many as 1,000 posters and 10,000 postcards were distributed throughout Paris and Athens, while 2,000 books were distributed in Paris, Tashkent and Athens. Campaign material Books, CDs, posters, postcards

Posters printed on Magno Satin 170g/m²

Books printed on Tempo 170g/m² and 300g/m²



BRETT CORAM AND PHILIP TETLEY-JONES Brett Coram - Designer * Philip Tetley-Jones - Copywriter Brett is a senior designer with Dentsu Production Concepts and together with Philip, now based in New Zealand, has worked in the advertising communications business within Europe and Australia for a wide range of international clients.

Rafiki Ya Watoto (RYW) means ‘Friends of Children’ in Swahili. It is a non-profit organisation, which aims to enable the needy children of Malindi District in Kenya to access some basic human needs. It is particularly focused on providing opportunities for vulnerable children to receive an education. Rafiki Ya Watoto mobilises resources from individuals, organisations, clubs, government authorities and companies to support this objective. Fundraising efforts in ‘the rich world’ aim to raise money that can be spent locally in Kenya to purchase practical necessities. By providing the means to buy school equipment (books, chairs, beds, uniforms) and to construct school buildings, RYW supports educational providers working in poor Kenyan communities. Education is not free or universal in Kenya – the poor need our help, and we believe that the best help is provided directly at the point of need. Local schools and orphanages working in the Malindi district often lack basic equipment, and this restricts their ability to offer an education to local children. Teachers and parents do what they can, but if your classroom is a space under a shady tree, there is a limit to what you can achieve. We chose to highlight the difference that small things can make: providing chairs or a simple blackboard can furnish a class with vital equipment for lessons. But in some cases, the school even lacks classrooms. Constructing a simple one-room structure provides an all-weather space for learning. We hope to raise awareness of the struggle faced by Kenyan children who simply want to learn, and to highlight the difference these everyday things can make by showing the impact of a small donation, while presenting the opportunity to help. At the same time, it provides a means of communication between European and African children, which can be done via basic email communication with selected schools. The campaign, ‘Help us to help them,’ is designed by Dentsu Production Concepts and Philip Tetley-Jones. It aims to arouse interest in a broad cross-section of society internationally, as well as appealing to children in schools in Belgium and Europe. Campaign material Newsletters, website


The Sappi 'Ideas That Mat as a chance to provide pr charity that would other help with publicity and fu that Rafiki Ya Watoto was glad to play a part in help access the benefits of edu

ter' competition appealed ofessional input on a wise receive very little ndraising. We're thrilled one of the winners and ing Kenyan children cation." BRETT CORAM AND PHILIP TETLEY-JONES > GRAPHIC DESIGNER AND COPYWRITER



STEFAN GEBHARD, JÜRGEN UHL AND CHRIS WEINMANN Animals’ Angels vision is to abolish long distance transportation of live animals. While working towards this goal, Animals’ Angels has gained expertise in every aspect of the transport business, and we use it to influence authorities and stakeholders to reduce animal suffering and change the way that farm animals are treated. Animals’ Angels inspectors accompany animal transport and check whether the exporters are abiding by the regulations. Whenever they see a breach of the rules, the inspectors contact police and vets. Animals’ Angels inspectors visit animal markets, harbours, farms and abattoirs. And wherever they go, they make notes of what they find. Armed with these facts, they confront the authorities in order to bring about changes for farm animals. Animals’ Angels are the first to attempt to gain the German public’s attention to the issue of the suffering of dairy cows. Designer Stefan Gebhard, Juergen Uhl, Chris Weinmann have devised a campaign that includes posters for 700 advertising pillars, 300


waiting halls and 450 metro spaces in Berlin, to publicise the suffering of dairy cows. The posters will each bear one of the advertisements involving the phrase ‘No milk today. Let’s talk about cows’. Postcards with further information on the back will be distributed in 600 restaurants, bars, and cultural locations. Leaflets will contain more information on the fate of dairy cows and include a response slip. German dairy cows are abused, robbed of their offspring, maltreated and finally sent away for slaughter. Their bones are weak because the magnesia is needed for high-speed milk production. They spend their lives in sheds. A very high percentage of German dairy cows are chained up even though it is illegal. Cows are sentient beings and the abuse they suffer cannot be tolerated. For ten years, Animals’ Angels have made themselves known within the EU as well as in Australia and the US. But the public is unaware of the organisation’s existence. The media refuses to help because the issue of farm animal exploitation is not very popular. Animals’ Angels is intent on gaining public attention by means of the German media and animal welfare organisations. Campaign material Leaflets, postcards, posters



MARIE BENSTEAD With 15 years experience in the design industry Marie Benstead launched Eve Design to fill a gap in the market of a design consultancy that listens, creates and delivers brand creation and ideas led communications. Eve Design combines original strategic thinking with design craftsmanship resulting in compelling and effective communications that function across all media.

The brochure needs to challenge decision makers to realise that, if you want to really reduce re-offending, you need to invest in projects that build hope and self esteem. The campaign messages is: ‘We CAN reduce re-offending – if we have the courage’. A route which visually is strong, bold and individual and reflects the positivity and change music bring, and can help those who are otherwise perhaps too ‘close to the edge’… It gives a voice to the people they are helping, the prison staff and the people involved at Changing Tunes especially the musicians. In the finished brochure this will be portrayed by photography of the individuals themselves with their own words written in their own handwriting with their signature. By reading these powerful quotes and case studies from people involved with Changing Tunes we get a real sense of just how music can reduce re-offending. The words themselves speak volumes. This theme runs throughout, also depicted visually for eg the bold type literally holding onto the edge of the paper, the people images always off the paper edge and specially commissioned illustrations which will be modern and impactful, always tieing in with the copy. The tone of the piece is strong, confident, simple, positive, clean and non-apologetic. Purposely different to the more ‘earthy, distressed looking’ look and feel of other charities. This aids the fact that the document needs to raise awareness, and funding and support from key decision makers. Changing Tunes work results in a 75% reduction in re-offending compared to the UK national average. It is the objective to become a national charity working in at least 80% of UK prisons by 2020. It is also the objective to influence how rehabilitative is undertaken. In particular by promoting work that builds self-esteem and personal motivation, as these two attributes are an essential part of successful rehabilitation. Changing Tunes uses music to build these attributes as well as developing a mentoring relationship. Campaign material Brochures




JOHN CORCORAN, DAN COLLINS, PETER HIGGINS AND TIM SAWFORD The mission of the Employers Forum on Disability is to enable companies to become “disability confident” by making it easier for them to recruit disabled people and to serve a disabled audience. Beyond Big Type is much more than a conventional campaign. It is a comprehensive resource and best practice toolkit. It is created in four, easy to understand parts: understand, inform, engage and deliver. It is supported and promoted through print, digital media and by organisations with a joint vested interest. Existing guidance on accessibility and inclusive design comes bundled with restrictions, barriers and negatives. Designers resist and reject the agenda and clients are wary about losing the benefits of engaging, distinctive creative solutions, Beyond Big Type enables clients and designers to work together to create communication that is more effective and inclusive to a wider audience. This is not designed as a short term, limited reach campaign, the Sappi award will act as seed funding to create a living, self-sustaining campaign that


will grow over time. For the past six years, Wire have been working with leading academic institutions and businesses towards creating an approach that will make a real difference, a more holistic approach that goes way beyond big type. This campaign will change the thinking and practice of everyone who uses communication in their business, learning and everyday life. It will equip communication professionals with the understanding and knowledge to create better communication that is more inclusive and more effective. In broad terms, this will have a positive impact on the whole of society. In more specific terms, the campaign will target commercial, public sector and not-forprofit organisations and will become essential for Heads of policy, communication strategists, copywriters, brand managers, marketing managers, professional designers, design students, design colleges and schools, printers, disability consultants and charities. The campaign will be measured quite simply from the take-up and demand for the Beyond Big Type toolkit – a resource that will become an essential requirement for every communication professional. Campaign material Books



A DECADE OF GIVING At Sappi, we like to think that we donâ&#x20AC;&#x2122;t just produce great coated papers. No, we take an active role in the world around us, striving to minimise our impact on the environment while improving the lives and prosperity of those we touch. Thatâ&#x20AC;&#x2122;s why, a decade ago, we launched Ideas that Matter, the industryâ&#x20AC;&#x2122;s only grant programme aimed at helping designers contribute their talents to the charitable activities that they care about most. Sappi believes that the creative ideas of designers can have an impact beyond the aesthetic and that those ideas can be a powerful force for social good. To date, Ideas that Matter has awarded grants to over 108 campaigns supporting causes that range from environmental issues and healthcare awareness to human rights protection. Working together with our customers, we aim to make a difference. The Ideas that Matter programme places special emphasis on efforts to support environmental sustainability, address pressing social needs and improve global prosperity. The proceeds form this book will be donated to a charity of choice from Sappi. Take action and inspire other. In the belief that meaningful ideas should be recognised, we invite you to submit yours to Ideas that Matter. Find out more on www.sappi.com and follow us on facebook, LinkedIn and twitter.



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ACKNOWLEDGEMENTS Sappi Europe dedicates this book and thanks the design community throughout Europe for their participation in Ideas that Matter, and believe that their ideas can create a better world. Sappi Europe thanks all of the following judges who have contributed their precious time and experience in selecting, in a fair and objective way, the most effective and impactful creative campaigns: Cordula Alessandri, Dirk Bogaert, Ben Bos, Anneke Bosman, Jean-BenoĂŽt Burrion, Michel Chanaud, Mario Eskenazi, Gaby Frank, Dag Franzen, Philippe Hensmans, Sadik Karamustafa, Elisabeth Kopf, Mervyn Kurlansky, Helmut Langer, Alain Le Quernec, Anette Lenz, Dominic Lyle, Laurence Madrelle, Gianfranco Marino, Armando Milani, Jean Robert, Ruedi Ruegg, Oda Sanel, Guy Schockaert, Leonardo Sonnoli, David Tartakover, Catherine Zask

Printed: Edition: Papers:

September 2009 by Blondé Printing (Belgium) 5000 copies Cover HannoArt Silk 170g/m² Inside pages HannoArt Silk 130g/m² Typeface: Garage Gothic and FF Clan Narrow ISBN: 9789085865575 Depot no: D/2009/5751/27 Distributed by: BAI - www.baipublishers.be


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Profile for BBDO

The Ideas that Matter book  

Ideas that Matter calls upon the creative skills and social awareness of both students and professionals. The challenge: come up with a worl...

The Ideas that Matter book  

Ideas that Matter calls upon the creative skills and social awareness of both students and professionals. The challenge: come up with a worl...