There was info graphic goodness aplenty as the winners of the second annual Kantar Information is Beautiful awards were announced this week. Whittling down the hundreds of entries was a thankless task according to David McCandless, one of the judges and a formidable info graphic practitioner in his own right.
He said: “It’s hell on earth to judge a competition like this, the quality and inventiveness of the work is so high. Data visualisation is really a new, emerging design form and a rising trend across many disciplines: news, web, science, marketing, even politics. The sheer range of approaches, content and style in this work has to be seen to be believed.”
Tim Leong, Bloomberg and Italian studio Accurat were among the winners while Jacob Hagen and Kim Albrecht scooped the two student awards. Check out this year’s winners below!
Best Data Visualisation – Accurat: Nobels (Also Best Studio)
Best Infographic – Derek Kim: Global Warming
Interactive Visualisation – Bloomberg Visual Data: Bloomberg Billionaires Index (Also Most Beautiful Award)
Best Motion Infographic Philipp Dettmer, Stephan Rether, Cathrin Ziegler and Thomas Veith: The Solar System: Our Home in Space
Best Tool or Website – Uldis Leiterts, Raimonds Kaze, Alise Semjonova: Infogram
Best Individual Contributions – Tim Leong and Valerio Pellegrini
Tim Leong: Character Kingdom
Valerio Pellegrini: Atlas of Kant’s Legacy
Student Awards – Jacob Hagen and Kim Albrecht
Jacob Hagen: Here I Go Again
Kim Albrecht: Meteorites 1900 – 2000
Community Award – Ahmad Barclay, Joumana Al Jabri, Naji El Mir, Ramzi Jaber, and Zahraa Mortada: Politicians’ Salaries & Income Inequality Politicians’ Salaries & Income Inequality
Editor-in-Chief Rob oversees editorial across all three It’s Nice That platforms; online, print and events. He has a background in newspaper journalism and a particular interest in art, advertising and photography. He is the main host of the Studio Audience podcast.
It’s tricky to implement the intricate tricks of an optical illusion in a book cover design without the finished product appearing slightly heavy-handed, but designer Hansje van Halem does it with poise and perfectionism. She’s worked as a freelance graphic designer since graduating from Amsterdam’s Gerrit Rietvield Academie in 2003 (as her About section explains) and her enjoyment of what others might find to be repetitive shines through in the illusory patterns in her portfolio.
As serious art and design journalists, we’re not distracted by mere baubles. But when said bauble takes the form of an online game (think Space Invaders meets graphic design portfolio) then who are we to resist. It’s one of many trinkets to be found on karlssonwilker’s terrific new website, which shows off their work in the best possible light and confirms their status as one of the most accomplished design studios working today.
When the Design Museum planned its Women Fashion Power show, which opened last month, it was very much keen to take the “women” component seriously, appointing them to take care of both the exhibition design and graphics for the show. As such, it drafted perhaps one of the most famous women in design’s practices, Zaha Hadid Architects for the exhibition design; with Lucienne Roberts and her team (Dave Shaw and John McGill) at LucienneRoberts+ creating the graphics.
Based in Manheim, Germany, Deutsche & Japaner have a really great sense of what looks good. They have been on the site a couple of times for their stylish graphic design but this work for the Aesthetics Habitat project shows off a bit more of their own personality. The site is described as “a venture all about meeting objects with a personal interpretation, transforming its function and creating narratives” and in essence its curators invite creatives to respond to and reflect on their relationship with a favourite thing of beauty.
London’s Wellcome Collection space always hosts explorations of the things that fascinate us most. It’s covered death, it’s exhaustively explored the human body in all its glory and grotesquery, and now it’s moved on to surely the most fascinating of all – sex, or more precisely, how people have studied it.
Brimming with sophistication and an understanding of what makes great design, Atelier Tout va bien’s portfolio is a glorious way to scroll away the day. The studio is made up of French design duo Anna Chevance and Mathias Reynoird, and it’s the pair’s editorial, poster and book design that really stands out.
The It’s Nice That team recently discussed which discipline we cover on the site would we most like to be brilliant at (it’s the kind of thing we do to wile away the final, dragging hours of these dark winter afternoons). After the appropriate amount of consideration (charts, cost/benefit analysis and the like) I plumped for book cover design and that led me down a little book-design-reminiscence and that led me back to Linda Huang.
Another day, another well-crafted, interesting identity for a topic that isn’t perhaps the most instantly exciting. This time, bringing us issues like “sustainable urban energy planning” and “urban transitions management” (we admit we’re not too sure what this means), is this identity for Sustain, by Filimonas Triantafyllou. Sustain is an academic platform to host discussions between different universities in Europe and Asia about their research into sustainability issues, and it’s refreshing to see Netherlands-based graphic designer Filimonas take such a pared-back, colourful approach to the subject matter. The graphical treatment uses different typographic word-marks for each of the topics being addressed, with each symbol reducing these rather complex issues into a simple motif.
Eschewing the usual white-paged minimalism, Berlin gallery Neumeister Bar-Am boasts a charming identity inspired by all things postage. The gallery is housed in an old Post Office space, and Slovenia-born, Berlin-based designer Neven Cvijanovic chose to look to its former home in designing the identity, using a colour scheme referencing that of the Deutsche Post. The flexible identity system uses icons that recall mail stamps that adapt to each show for use on invites; while other collateral like stationery and business cards are more pared-back. It’s great how the theme is subtle, yet direct – especially in little touches like the yellow tape.
Australian consultancy Sense designed the identity for this year’s Czech & Slovak film festival, which took place in Melbourne and Sydney, creating a look look inspired by the gorgeous hand-printed Czech film posters of the past. The festival was themed around the idea of “resistance”, as a nod to 2014 being the 25th anniversary of the non-violent “Velvet Revolution” in Czechoslovakia – a series of peaceful demonstrations against the Communist Party of Czechoslovakia that worked to end 41 years of Communist rule in the country.
If last week on the site was dominated by terrific Norwegian graphic design, then this week it’s the turn of Finland, and more specifically Kokoro & Moi to step into the spotlight. Teemu Suviala and Antti Hinkula’s studio has been going for 13 years now, and it’s always exciting to get wind of new updates on their site.
No matter how long it is since you left school, Monday morning can still bring back that sense of academic-induced dread. The Exercise Book by South London design agency Calm & Collected may well inspire similar reminiscence but all being well it’ll be of the warmly nostalgic kind rather than the “haven’t-done-my-homework-forgotten-my-PE-kit” pit of the stomach variety. The publication accompanied the group’s recent show LEARN and features hand-drawn graphics inspired by education across black and white, colour and risoograph pages.
Whenever we come across graphic design that features non-Latin script we are always aware of the immediate appeal that comes from these letterforms that are so different to our own. In this case though it’s hard to get round that, because Eric Hu’s A Thousand Characters is a very definite and deliberate celebration of these beautiful alien forms. It is comprised of 1,000 unique illustrations of each letter in a classical Chinese poem that has 1,000 non-repeating characters. “These were drawn with my mouse using a dynamic drawing application I had programmed in Processing then manipulated further in Photoshop,” Eric explains.