Inclisiran Manufacturing Animation
Company Donovan/Green
Introduction Date January 23, 2018
Project Website
Why is this project worthy of an award?
RNAi is a new technology based on Nobel Prize winning science and is on the cusp of providing some of the most innovative drugs capable of addressing a range of diseases, including cardiovascular disease, the number 1 killer in the world, according to the WHO. Understanding the technology – how it works in the human body and how it can be manufactured at scale (for the first time) and at a reasonable cost, is essential to gaining the support to get it to market. In this animated infographic, the challenge was to clarify and communicate a complex 218 step process initially intended to engage investors and analysts. Working closely with our partners at The Medicines Company, we learned about the elements at play, the use of the science in the chemical process of solid phase synthesis and the importance of the finishing processes to create the stable drug that would ultimately end in a prefilled syringe ready for delivery to a patient. Our vision was to divine the intricate pattern that could be communicated and design the elements that would carry the message in a memorable and effective way.
What else would you like to share about your design? Why is it unique and innovative?
The biotech industry is synonymous with highly technical language and processes which take place invisibly, making it very difficult for potential investors, stakeholders or users to understand how new technologies actually work or grasp the real value of the products being developed. The Medicines Company made a very deliberate effort to overcome this challenge when they paired a highly sophisticated biochemist in charge of manufacturing with a creative team to develop the storyline and visual elements to relay that narrative to a broad audience. This endeavor is innovative in a myriad of ways: this effort to clarify the technology is rarely done effectively to general audiences; the process and technology described in the narrative is the foundation behind the world’s largest and most efficient commercial-scale manufacturing of RNAi; this will result in unprecedented pricing flexibility and therefore accessibility to the many patients who need it; and finally, the method of describing these complex processes and sequences is entirely exclusive to this one endeavor, the output of which becomes a new visual language developed for this the sole purpose of telling the inclisiran story, comprised of multiple ‘chapters’ including how the drug works in the human body.
Who worked on the project?
Heather Furman – Creative Director at Donovan/Green, John Richards – Senior Vice President Head of Pharmaceutical Development at The Medicines Company, Kevin Braine – Designer at Donovan/Green, Diana Backer – Senior Designer at Donovan Green, Peter Wijngaard – Senior Vice President, Global Innovation Group Leader at The Medicines Company, Clive Meanwell – Chairman and Chief Executive Officer at The Medicines Company, Nancye Green — Chief Design Officer at The Medicines Company
View the project video: https://www.dropbox.com/s/xgtws97n8v5aep7/TOP_Manufacturing_Full_180122_FN.mp4?dl=0
Inclusive Design
Company Airlift
Introduction Date April 3, 2017
Project Website
Why is this project worthy of an award?
Inclusive Design is more than a nice idea. It drives growth and is an emerging practice being incorporated into many organizations globally. Kat Holmes is the leading authority on inclusive design, having led the development of Microsoft’s Inclusive Design toolkit, which landed her on the list of Fast Company’s Most Creative People in Business. Airlift had the honor of designing the cover and collateral of Mismatch — how inclusion shapes design — the new book written by Kat Holmes, forward by John Maeda and published by MIT Press.
What else would you like to share about your design? Why is it unique and innovative?
Capturing the heart of inclusive design and applying it across the visual landscape was our goal by focusing on it's key principals of: Recognize exclusion Exclusion happens when we solve problems using our own biases. Seek out exclusions as opportunities to create new ideas and inclusive designs. Learn from human diversity Human beings are the real experts in adapting to diversity. Inclusive design puts people at the center from the very start of the process, and those fresh, diverse perspectives are the key to true insight. Solve for one, extend to many Everyone has abilities, and limits to those abilities. Designing for people with disabilities actually results in designs that benefit people, universally. Constraints are a beautiful thing.
Who worked on the project?
Patrick Corrigan : Head of Creative Pete McClelland : Head of Design Ethelind Vu : Designer
View the project video:
IOTA Live Data Sculpture Installation
Company Ouchhh
Introduction Date March 23, 2017
Project Website
Why is this project worthy of an award?
Rather than just combining science, art and techonology with music, we created an artwork on canvas with different sizes going through the sky in which the unseen is experienced in a century which we see everything rectangle. Our work become so popular in very different areas. We create AI version for V2 and it's been shared on creative media recently.
What else would you like to share about your design? Why is it unique and innovative?
In mathematics, the inclusion map of one space into another is denoted by the lowercase iota. Light is the single element which can be perceived by the eye. Iota is a led installation inspired by light physics and a research to find the origin of geometry. Corresponding to the focus of the observer, the nature of light and its different phenomena can be seen beyond the perceptivity of the human mind and attempts to translate them into a unified, non-spatial form. We had a target on a very large scale including creative people from different disciplines and communities.
Who worked on the project?
Direction_Design_Animation: Ouchhh (ouchhh.tv) Sound Design: Audiofil
View the project video: https://vimeo.com/209742841
Itaú Typeface
Company Itaú Unibanco
Introduction Date April 13, 2017
Project Website
Why is this project worthy of an award?
The notion to design a typeface for Itaú emerged from the need for a font with specific characteristics that imparted high legibility, efficiency and file size reduction, as well as attributes that are relevant to the brand – such as closeness, lightness and dynamism. With Itaú typeface, the bank consolidates its presence in the history of graphic design and joins the highly exclusive group of the most innovative companies on the planet to have their own exclusive and personalized typeface.
What else would you like to share about your design? Why is it unique and innovative?
The process relied on Itaú’s Research area, which determined how 1.200 customers perceived and received the new font, using quantitative analysis, implicit association and semiotics. The test involved an online survey comparing the Itaú font with Myriad (the one previously used) and two others used by private-sector companies, and included neurosciences-related issues and attributes such as legibility. Their findings show that the Itaú typeface had the strongest association with the brand.
Who worked on the project?
Itaú Design Team and Dalton Maag
View the project video: https://youtu.be/JxBc54xUbws
It's Your World
Company Superunion
Introduction Date March 17, 2017
Project Website
Why is this project worthy of an award?
This is the story of the most successful airline launch of all time, in which 52,000 tickets were sold in the first 11 hours, the IAG (International Airline Group) share price jumped 3.5%, and the fleet size is already scheduled to increase by 150% within the first year of trading. This is the story of a close partnership between agency and client, sharing an office space and turning a low-cost, long-haul concept into a reality in under 6 months. This is the story of how we redefined ‘value’ with an ‘unbundled’ offer that provides premium qualities where you want them, and a stripped-back experience when you don’t, appealing simultaneously to those who value a full-service experience, and those attracted to ‘no-frills’ offers. But above all, this is a story of an airline brand that broke the mould. A brand born of a higher purpose: To stand up for your right to fly. It democratises global experiences for the next generation – the people who have the motivation and the curiosity to see the world, but have never felt able to before. It’s called LEVEL, which is more than a name, it’s a promise to make long-haul travel accessible, levelling the playing field for all. It has a logo that is more than a logo. It’s a subversion of the flag motifs used by traditional ‘flag-carriers’. It's a square bisected into a blue strip for sky and a green strip for earth, a symbol of freedom and travel for everyone. It has a unique identity that avoids the intricacy of ‘full-service’ carriers and the brashness of ‘budget’ airlines. It’s elegant in every application, signalling a new definition of value. And it is a brand that’s ‘digital first’ from design to experience. With a UX as elegant as its look and feel, an efficiency-first service style, and even a visual identity that can be reproduced with code alone.
What else would you like to share about your design? Why is it unique and innovative?
Our visual identity is inspired by the global language of travel, from early aircraft insignia to modern aviation typography. We wanted to create a simple ‘utilitarian chic’ aesthetic, to reflect stylish, value-led offer. We also wanted it to feel geographical neutral, as this is an airline for everyone. Whilst the design for LEVEL looks completely of now, its roots go right back to the start of aviation. The distinctive patterns that are at the heart of our visual identity were inspired from the bold geometric marks that were used to identify aircraft in the very early days of aviation. They had to be read at speed - and in the days before ground–to-aircraft communication, they were absolutely essential. We took inspiration from these graphical marks to develop our own vibrant patterns. This simple, reductive style works across every touchpoint, from aircraft tailfin to app icon. And the patterns can be recreated with code alone (no graphics necessary), befitting for a modern, digital first airline. We even created an algorithm which could reduce the information in any picture down to its basic forms, to help create new shapes and patterns representing different destinations. LEVEL it's your world.
Who worked on the project?
Our visual identity is inspired by the global language of travel, from early aircraft insignia to modern aviation typography. We wanted to create a simple ‘utilitarian chic’ aesthetic, to reflect stylish, value-led offer. We also wanted it to feel geographical neutral, as this is an airline for everyone. Whilst the design for LEVEL looks completely of now, its roots go right back to the start of aviation. The distinctive patterns that are at the heart of our visual identity were inspired from the bold geometric marks that were used to identify aircraft in the very early days of aviation. They had to be read at speed - and in the days before ground–to-aircraft communication, they were absolutely essential. We took inspiration from these graphical marks to develop our own vibrant patterns. This simple, reductive style works across every touchpoint, from aircraft tailfin to app icon. And the patterns can be recreated with code alone (no graphics necessary), befitting for a modern, digital first airline. We even created an algorithm which could reduce the information in any picture down to its basic forms, to help create new shapes and patterns representing different destinations. LEVEL it's your world.
View the project video: https://vimeo.com/271480578 Password; LEVEL Awards
