Commissioned by the Nike Foundation in support of The Girl Effect, London design studio Accept & Proceed created a series of infographic flyposters and handouts that were distributed at the London Summit on Family Planning held two weeks ago…
A&P were briefed to create bold graphic materials that would get the attention of the attending politicians, policy makers and world leaders during the lunch break at the Westminster summit, and communicate to them some of the facts and figures that The Girl Effect organisation is set up to tackle.
“We worked with Ben Gallgher at the Nike Foundation,” explains A&P’s Matthew Jones, “and the brief was to bring the focus onto family planning for the youth sector.
The Girl Effect gave us reams of data which we distilled down to 12 key data points [about how giving girls and women in the world’s poorest communities access to education and also modern contraception can have a huge impact on the economic potential of the countries they live in]. We then designed a series of data visuals for each of our 12 chosen hard hitting facts which were screen printed onto newsprint in fluoro colours at K2. These were flyposted around the venue’s lunch area.”
As well as the flyposters, A&P also created physical data pieces including one which involved hundreds of dollar bills pinned to a wall and spray painted with the message that preventing a teen pregnancy costs $17 a year and saves $235 a year.
Plus the studio created a photo booth where delegates could hold up a printed pledge relating to the campaign.
There was also an A2 folded data sheet (printed by PUSH) that contained the key infographics and messages:
Of course, how much effect A&P’s graphic work had on the delegates can’t be measured, but by the end of the one-day summit, over $2.6 billion had been committed to provide access to contraception to 120 million girls and women in the world’s poorest countries by 2020.
See more of Accept & Proceed’s work at acceptandproceed.com
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The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as amember of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and more.
Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.
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