Trase
Why is this project worthy of an award?
Every year the world loses an area of rainforest about the size of New Jersey. As the trees come down, we are losing irreplaceable natural beauty, rare and precious wildlife; forest communities are driven into poverty; and the climate is thrown further out of balance. As much as two-thirds of this tropical deforestation is to make way for new farmland, producing globally traded, globally consumed commodities like palm oil, timber, beef, and soy for animal feed. Driven in part by consumer awareness, courageous journalism, and activism on the part of environmental and human rights campaigners, a growing number of companies and governments are committing themselves to combating deforestation. But they face a major challenge. Today’s globalized trade and production mean that once deforestation-risk commodities enter the system, they quickly become invisible. While leading brands have pledged deforestation-free supply chains, they – and the people who would hold them to those pledges – often simply don’t know where those supply chains start. The Trase initiative is at the forefront of a revolution in supply chain transparency. Making innovative use of huge, publicly available data sets for production, shipping and trade, it untangles the global value chains of major forest-risk commodities. The free online Trase.earth platform gives users visually compelling, interactive and informative ways to explore the supply chains, from the import market back to the landscapes of production – often going down to the level of individual municipalities. The supply-chain mapping that underpins Trase is unprecedented in its detail, coverage and accuracy. Trase is already being used by companies, governments, banks and global initiatives to support efforts towards zero-deforestation supply chains.
What else would you like to share about your design? Why is it unique and innovative?
Visitors to Trase.earth can explore the rich data sets using an interactive Sankey diagram that shows the direction and scale of flows between points – and companies – in the supply chain. The Sankey interacts with maps in compelling ways to show where the commodities are being grown. Users can zero in on producers, traders and import markets, and resize or recolour commodity flows to reflect parameters like traded volumes, financial value, deforestation risk, water scarcity, farm types and companies’ zero-deforestation pledges. The latest iteration of D3 allowed us to turn a static Sankey into a fully animated visualization. Any of the millions of combinations of node selections, filters and map layers can be captured in a single URL, which can then be shared via email or on social media, extending the reach of the Trase initiative itself, and the stories told by its users. The look and feel of Trase.earth has matured as the project has grown. Informed by user research and feedback, each iteration has made the information architecture clearer, making the data more accessible, usable and useful. Clean, beautiful design helps build trust in the data, while subtle touches such as the animation of the data visualization on the homepage provides a hint of what Trase can do and the transparency that underpins it. Trase.earth is a living platform with an ambitious vision. We will keep adding new data and new functionality to cement Trase's place at the heart of global efforts to save our remaining tropical forests and place the production of these vital commodities on a sustainable footing.
Who worked on the project?
Toby Gardner, Project Manager, SEI Lena Meintrup, Product Manager, SEI Clément Suavet, Data Scientist, SEI Javier Godar, Data Scientist, SEI Niki Mardas, Executive Director, Global Canopy Sarah Lake, Head of the Supply Chain Programme, Global Canopy Tiago Garcia, Lead Developer, Vizzuality Juan Carlos Alonso, Designer, Vizzuality Agnieszka Figiel, Back-end Developer, Vizzuality Rodrigo Solís, Front-end Developer, Vizzuality Jamie Gibson, Social Scientist, Vizzuality Sergio Estella, Chief Design Officer, Vizzuality David González, CTO, Vizzuality
View the project video: https://youtu.be/wMnAQJBptj8
Tuborg VIS
Company Turner Duckworth: London, San Francisco & New York
Introduction Date September 1, 2017
Project Website
Why is this project worthy of an award?
The new visual identity developed by Turner Duckworth helped to position Tuborg as a brand, which is reassuringly authentic and refreshingly new. The design work combined elements of heritage and legacy with a fresh vibrant look. The new design significantly increased the stopping and grabbing power of the pack on shelf and resulted in double digit sales volume uplift.
What else would you like to share about your design? Why is it unique and innovative?
It may have over 130 years of brewing history but Tuborg has always been a forward thinking, youthful and creative brand. Already with an unconventional, tilted bottle label, our challenge was to redesign the brand for the modern, digital, collaborative and multidimensional world. To go beyond primary packaging and to create a visual identity system that can be easily adapted for the brands activity across the world. We have added a youthful injection of electric blue to the primary logo and brand world colour palette to create disruption in a world of green beer brands and to deliver on taste and refreshment. As part of this updated colour palette we have introduced the Tuborg filter, a blue and green photographic treatment for the off-pack world of advertisement, communications and limited editions, creating a distinctive style, familiar to social media obsessed young consumers and totally unique to the brand. Always associated with music, Tuborg has moved from establishing and sponsoring large rock festivals, to modern day music partnerships with international DJs. To reflect the importance of music in Tuborg’s DNA we have developed the graphic of an amplifying pulse, coming from the heart of the product (its main bottle label) and moving through the world, effecting and adding rhythm to everything it comes into contact with. Combined with more familiar beer language in the form of reimagined heritage marks, hop symbols and bottle pack shots, the new identity is reassuringly authentic, yet refreshingly new, cutting through at shelf and providing a rich set of assets for future growth with exciting new music partnerships
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Clem Halpin Designers: Chris Simpson Head of Production: James Norris Artworker: James Chilvers Senior Account Manager: Jamie Pearce
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Turner Duckworth Moving Card
Company Turner Duckworth: London, San Francisco & New York
Introduction Date February 1, 2017
Project Website
Why is this project worthy of an award?
The original and unique mailer truly captures the spirit and growth of Turner Duckworth. The humorous observation of being ‘packed in like sardines’ in our previous (much smaller) studio formed the basis of the mailer. The wit and surprise of being confronted by a sardine tin creates a memorable moment, whilst also nodding to our origins as a packaging design agency. When the tin is ripped open it reveals a confined typographic ‘Turner Duckworth’, representative of the previous lack of space.
What else would you like to share about your design? Why is it unique and innovative?
The complexity of the paper engineering was deliberate; we wanted the recipient to experience our studio move and feel the sense of relief as the pages concertinaed out, revealing more and more space. When fully extended a descriptive passage captures the benefits of our new studio, with ‘Turner Duckworth’ seamlessly incorporated at the heart of the copy. This mailer was memorable, unique and most importantly represented the growth of Turner Duckworth.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Design Director: Miles Marshall Designer: Amy Cobain, Gavin Hurrell Artworker: James Norris, James Chilvers Account Manager: Isabelle Erixon
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Turner Market
Company Rapt Studio
Introduction Date November 1, 2016
Project Website
Why is this project worthy of an award?
Turner, in an ongoing effort to reimagine television and media, came to Rapt to rethink and masterplan their Atlanta Campus to help to fuel a new way of thinking about work and subsequently a new way of thinking about workplace. The campus is home to Cartoon Network, Turner Sports, TBS, TNT, and other Turner enterprises and in looking to the future of television, it was apparent that the workplace needed to lead the discussion on innovation and reinvention. Our first task was to rethink and offer more public amenities, available to the entire staff, that would overnight, superpower the idea of meeting, working, and collaboration. Surveying the existing workforce, some of which have been with the company for many years as well as identifying the needs of the younger desired recruit, we identified some truths around the importance of mobility and the technology needed to support it and the simple, low-tech, spaces where real conversation happen; where brainstorming and collaboration lead to innovations, far from the digital toolbox. So, our main conceit here is that innovation may best be served in a low-tech environment. The Market is a classic food hall; an analog delivery of food and drink to a population that is imagining the next great form of entertainment. This space, now the heart of the campus, serves up hot meals, drinks, juices and just about anything else you could want, but it also delivers great spaces for people to have impromptu meetings, places to see and be seen, places to have a great working lunch (some of those with no connectivity at all within its walls).
What else would you like to share about your design? Why is it unique and innovative?
Rapt Studio has been engaged with Turner Broadcasting, redesigning their Techwood Campus, home to half of the company’s employees, in Midtown Atlanta. The “Reimagine Techwood” project represents an important investment as the media company continues a broader overhaul of its businesses. Turner owns and operates some of the most valuable brands in the world including CNN, TBS, TNT, Turner Classic Movies and truTV; Cartoon Network and Adult Swim; and Turner Sports. Turner is shifting from being a wholesale, linear cable TV company to being a “fan engagement company,” providing premium video content across devices and platforms. This long-term and ambitious renovation project—which included everything from master planning to interior design and branding—enables Turner to compete in this new age of media. The headquarters fosters a culture of innovation, creativity, and collaboration in a modern and efficient workspace. The plan for the 600,000 sf campus includes axes with four outdoor quads that connect the several buildings. Turner Chairman & CEO John Martin has cited the new campus as one of the key tools to help him reinvent the company from the inside out. Turner Market was the first project to roll out of our masterplan for Turner Broadcasting’s Techwood Campus. Rapt Studio was hired to design a two-story food hall/gathering space for the campus to come together and to signify the beginning of a new day at Turner. The design of the Market came at a time when people across the globe were turning their backs on the concept of the food court and cafeteria and looking for a more a genuine collection of local vendors, artisan bakers, and more chef-centric menus. Our design offers a wide selection of cuisines as well as places to eat, drink, and gather. The design aesthetic plays off of the concrete and steel of the existing building and integrates finishes, materials, and furniture that results in a space that feels as though it could have been there forever—without feeling nostalgic. It’s a space that is warm and hospitality focused but planned for real work to get done. It’s a place where people now look forward to going to, to eat, to drink, to see and to be seen. The graphics package was deeply integrated into the overall experience. The heart of the design is modern and whimsical but mature. Each cuisine station within the market got its own unique brand identity including signage, packaging and collateral. A variety of seating and dining room options received stylized treatment from art installations, bold material choices, and gold-leafed room signage. The Market may have signaled the coming of a new day at Turner, but at its simplest, it has become the welcoming, heart of the campus.
Who worked on the project?
David Galullo, CEO, Chief Creative Officer Derrick Prodigalidad, Team Lead Sam Gray, Creative Director Daniela Covarrubias, Designer Rosela Barraza, Designer Sarah Devine, Account Director Andrew Ashey, Senior Designer Lucia Matioli, Creative Director Alex Adamson, Senior Designer
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Typeform Rebrand
Company Typeform
Introduction Date February 12, 2018
Project Website https://www.typeform.com/blog/inside-story/rebranding/
Why is this project worthy of an award?
People first! The duality of a data company putting people first is fundamental to Typeform and our rebrand. We believe empathy in tech is more important than ever, particularly around data. We believe how you ask is everything. Our customers talk about Typeform in very emotional terms, which is unusual for a data collection tool. “Love” was one of the most used descriptions in our customer feedback because Typeform adds an emotional layer to the rational and analytical practice of data collection. We make it more balanced. We brought this idea of rational-emotional balance to our rebrand and created a dynamic mark that captures this duality. The Rings are the signature element. They are dynamic. In digital applications they are alive, breathing and moving. In the same way that a tree’s rings reveal stories about its age and experience, the same is true for people. Everyone is different and this is why our brand proposition revolves around “really knowing people.” Typeform enables our customers to get to know their audience, and it allows audiences to know who’s having a conversation with them. This experience demonstrates what Typeform is all about, and the brand reflects this. Now imagine those rings from a different perspective. Imagine they are stones stacked upon each other. As you move your head to view them from the side, you now see lines. Straight lines. Some tall, some short. Spaced apart like a mathematical algorithm. We us these lines represent the data side of data collection, and the data side of the human experience. The brand elements are alive, and by using them empathetically, Typeform can speak to different audiences in different ways. In print the elements are accompanied by images of real people and typography to bring the static to life. Throughout our journey we applied a user centered design process to understand our company, knowing that our audience was not only users, but also employees. We conducted workshops and user research to understand our culture and how people felt about our product. As a result, the brand has moved the company forward in profound ways. First, it has infused the company with a new philosophy going forward: put people first. This means evolving from a product-centric company to a customer-centric company. To solidify our commitment to this new philosophy, we implemented the Jobs To Be Done framework. It brings the user to the center of our focus, aligns employees, defines our go-to-market strategy and informs product development. Second, duality gives designers and product owners a clear path to create better experiences through balancing the functional and emotional aspects of the product. We have created a new set of design principles that reflect that duality and hold us accountable. They are: Balance: emotional - rational Think: artistic - analytical Make: natural - contextual Express: unique - universal The brand drives this approach. The brand is our strategy.
What else would you like to share about your design? Why is it unique and innovative?
From Barcelona with love! Typeform was founded in Barcelona and remains in Barcelona. Culture is essential to us, and while we have a very diverse team from more than 40 countries, Barcelona is our home and it continues to influence our company. We wanted to express this connection with the city by drawing inspiration from Pablo Picasso and Joan Miró. Miró is reflected in our organic shapes and thin lines. Picasso lends simplicity and ruggedness to punctuate the brand. His style also serves as an influence to our illustration guidelines. Brought together we feel proud of our cultural roots and part of something special. Our product gave birth to a new category: conversational data collection. Adding an elegant design to data collection is innovative for a software company, and reflecting this rational-emotional balance and duality in our brand is unique. Specifically: Dynamic rings It starts with our dynamic logo. It breathes whenever it appears in a digital environment. If the Rings represent people, they must be alive. Static variation And for print, our brand guidelines don’t provide one static version of the logo. Instead, we built a pattern generator that allows everyone to capture a specific frame of the living logo. Emotional rational The Rings can be rotated from the primary state through to an emotional state that represents feelings, innovation, or spontaneity. And rotate further to a rational state, the side view, that represents data, order, or organization. Color duality We have two defined colors, a light black, and dark white. Living color We then carried our “people first” approach through to the rest of the color palette. No palette represents the uniqueness of people. When we use color, we select a vibrant color from a person appearing in the associated photography. In that way, people reflect the color. People first People play a leading role in how we communicate our brand. We get in touch with photographers we like and ask them for personal pictures: their trips, friends and family. This way our brand only shows real people doing whatever they were doing when that picture was taken. No models. No faked actions. Just real, ordinary people. Like me and you. We developed an identity that speaks to people regardless of job title or role. We want our brand to speak simultaneously across a spectrum from marketing to engineering and connect to companies with a people-centered approach.
Who worked on the project?
Creative Director: Alex Antolino, Typeform Alex Johns - Design Director, DesignStudio James Hurst - Principal, DesignStudio Magali Johnson - Senior Project Manager, DesignStudio Steph Wright - Junior Designer, DesignStudio Alistair Davies - Designer, DesignStudio Joe Hewitt - Senior Strategist
View the project video: https://www.youtube.com/watch?v=ZlcI1pthd2E&t=
