2023

2023

2023

2023

2023

In dealing with a subject as important as this, our primary challenge revolved around building a page that was inclusive of, and as accessible to as many people as possible.

Through consistent communication and collaboration with the client, we crafted a design that is based on the principles of good accessibility across different devices while staying rooted to the studio’s experience in storytelling. 

Gold Winner for Best Design  →  Native Advertising Awards 2024

In dealing with a subject as important as this, our primary challenge revolved around building a page that was inclusive of, and as accessible to as many people as possible.

Through consistent communication and collaboration with the client, we crafted a design that is based on the principles of good accessibility across different devices while staying rooted to the studio’s experience in storytelling. 

Gold Winner for Best Design  →  Native Advertising Awards 2024

In dealing with a subject as important as this, our primary challenge revolved around building a page that was inclusive of, and as accessible to as many people as possible.

Through consistent communication and collaboration with the client, we crafted a design that is based on the principles of good accessibility across different devices while staying rooted to the studio’s experience in storytelling. 

Gold Winner for Best Design  →  Native Advertising Awards 2024

In dealing with a subject as important as this, our primary challenge revolved around building a page that was inclusive of, and as accessible to as many people as possible.

Through consistent communication and collaboration with the client, we crafted a design that is based on the principles of good accessibility across different devices while staying rooted to the studio’s experience in storytelling. 

Gold Winner for Best Design  →  Native Advertising Awards 2024

In dealing with a subject as important as this, our primary challenge revolved around building a page that was inclusive of, and as accessible to as many people as possible.

Through consistent communication and collaboration with the client, we crafted a design that is based on the principles of good accessibility across different devices while staying rooted to the studio’s experience in storytelling. 

Gold Winner for Best Design  →  Native Advertising Awards 2024

Elevating voices through artwork

Elevating voices through artwork

Elevating voices through artwork

Elevating voices through artwork

Elevating voices through artwork

When we first started working on this project, our initial intention was to use original illustrations that would help create a direct bridge between visuals and narrative  through an abstract approach given the complexity and importance of the subject.

We felt this would be effective at portraying a very sensitive subject, however, we pivoted in the end and felt that we had a great opportunity to instead provide a safe space and voice to artists with disabilities with the help of our client, who put us in touch with these artists to secure the rights to display their artworks.

The artworks are displayed in a way where they can breathe and stand out on their own without clashing with other parts of the page. We wanted to display them predominantly like a gallery, which in turn also helped break the flow of the page.

When we first started working on this project, our initial intention was to use original illustrations that would help create a direct bridge between visuals and narrative  through an abstract approach given the complexity and importance of the subject.

We felt this would be effective at portraying a very sensitive subject, however, we pivoted in the end and felt that we had a great opportunity to instead provide a safe space and voice to artists with disabilities with the help of our client, who put us in touch with these artists to secure the rights to display their artworks.

The artworks are displayed in a way where they can breathe and stand out on their own without clashing with other parts of the page. We wanted to display them predominantly like a gallery, which in turn also helped break the flow of the page.

When we first started working on this project, our initial intention was to use original illustrations that would help create a direct bridge between visuals and narrative  through an abstract approach given the complexity and importance of the subject.

We felt this would be effective at portraying a very sensitive subject, however, we pivoted in the end and felt that we had a great opportunity to instead provide a safe space and voice to artists with disabilities with the help of our client, who put us in touch with these artists to secure the rights to display their artworks.

The artworks are displayed in a way where they can breathe and stand out on their own without clashing with other parts of the page. We wanted to display them predominantly like a gallery, which in turn also helped break the flow of the page.

When we first started working on this project, our initial intention was to use original illustrations that would help create a direct bridge between visuals and narrative  through an abstract approach given the complexity and importance of the subject.

We felt this would be effective at portraying a very sensitive subject, however, we pivoted in the end and felt that we had a great opportunity to instead provide a safe space and voice to artists with disabilities with the help of our client, who put us in touch with these artists to secure the rights to display their artworks.

The artworks are displayed in a way where they can breathe and stand out on their own without clashing with other parts of the page. We wanted to display them predominantly like a gallery, which in turn also helped break the flow of the page.

When we first started working on this project, our initial intention was to use original illustrations that would help create a direct bridge between visuals and narrative  through an abstract approach given the complexity and importance of the subject.

We felt this would be effective at portraying a very sensitive subject, however, we pivoted in the end and felt that we had a great opportunity to instead provide a safe space and voice to artists with disabilities with the help of our client, who put us in touch with these artists to secure the rights to display their artworks.

The artworks are displayed in a way where they can breathe and stand out on their own without clashing with other parts of the page. We wanted to display them predominantly like a gallery, which in turn also helped break the flow of the page.

Developing an art direction rooted in accessibility

Developing an art direction rooted in accessibility

Developing an art direction rooted in accessibility

Developing an art direction rooted in accessibility

Developing an art direction rooted in accessibility

As we went into developing this program’s art direction, I started exploring a few keywords and themes that were present throughout the content outline and how we could use effective colour combinations.

From there, I developed a colour scheme that matched the serious tone of the article but which felt balanced and had a positivite feel to it by pairing bright and dark hues while still looking visually appealing on the page.

While tweaking these hues, we were at the same time complying with the Web Content Accessibility Guidelines to make sure that any text had enough contrast and was easy to read no matter what colour combination we used.

When it came to coding the page, I also made use of the built-in vision preview tool in Webflow that helped us simulate how people with different types of colour blindness would see our page, and then tweaked every part accordingly until the right results were met.

As we went into developing this program’s art direction, I started exploring a few keywords and themes that were present throughout the content outline and how we could use effective colour combinations.

From there, I developed a colour scheme that matched the serious tone of the article but which felt balanced and had a positivite feel to it by pairing bright and dark hues while still looking visually appealing on the page.

While tweaking these hues, we were at the same time complying with the Web Content Accessibility Guidelines to make sure that any text had enough contrast and was easy to read no matter what colour combination we used.

When it came to coding the page, I also made use of the built-in vision preview tool in Webflow that helped us simulate how people with different types of colour blindness would see our page, and then tweaked every part accordingly until the right results were met.

As we went into developing this program’s art direction, I started exploring a few keywords and themes that were present throughout the content outline and how we could use effective colour combinations.

From there, I developed a colour scheme that matched the serious tone of the article but which felt balanced and had a positivite feel to it by pairing bright and dark hues while still looking visually appealing on the page.

While tweaking these hues, we were at the same time complying with the Web Content Accessibility Guidelines to make sure that any text had enough contrast and was easy to read no matter what colour combination we used.

When it came to coding the page, I also made use of the built-in vision preview tool in Webflow that helped us simulate how people with different types of colour blindness would see our page, and then tweaked every part accordingly until the right results were met.

As we went into developing this program’s art direction, I started exploring a few keywords and themes that were present throughout the content outline and how we could use effective colour combinations.

From there, I developed a colour scheme that matched the serious tone of the article but which felt balanced and had a positivite feel to it by pairing bright and dark hues while still looking visually appealing on the page.

While tweaking these hues, we were at the same time complying with the Web Content Accessibility Guidelines to make sure that any text had enough contrast and was easy to read no matter what colour combination we used.

When it came to coding the page, I also made use of the built-in vision preview tool in Webflow that helped us simulate how people with different types of colour blindness would see our page, and then tweaked every part accordingly until the right results were met.

As we went into developing this program’s art direction, I started exploring a few keywords and themes that were present throughout the content outline and how we could use effective colour combinations.

From there, I developed a colour scheme that matched the serious tone of the article but which felt balanced and had a positivite feel to it by pairing bright and dark hues while still looking visually appealing on the page.

While tweaking these hues, we were at the same time complying with the Web Content Accessibility Guidelines to make sure that any text had enough contrast and was easy to read no matter what colour combination we used.

When it came to coding the page, I also made use of the built-in vision preview tool in Webflow that helped us simulate how people with different types of colour blindness would see our page, and then tweaked every part accordingly until the right results were met.

For typography, we chose fonts based on the principles of accessibility and readability, therefore, keeping our choice to two fonts only in order to minimise visual confusion as well as fatigue. They are visually comfortable, reduce any sensation of eyestrain and increase overall reading satisfaction.

The headline font “New Spirit” was selected for its positivity and its distinguishable individual characters, but also for the subtle edits to the letterforms that help persons with visual impairments differentiate them. Thanks to stroke contrast, counter widths and opposing angles, we can avoid confusion with potentially similar characters.

For the body copy we chose “Lexend”, whose creator set out to design a solution for persons with dyslexia and visual impairments through clear angles, distinctive shapes, high contrast ratio, wide character spacing and clear distinction between similar-looking characters, such as “l” and “1" to make the text easier for individuals who have visual or cognitive disabilities.

As for the measuring unit, we chose a REM unit instead of the typical pixel or points measurements for the text size so that people with low visibility can resize text in their devices without loss of content or functionality.

For typography, we chose fonts based on the principles of accessibility and readability, therefore, keeping our choice to two fonts only in order to minimise visual confusion as well as fatigue. They are visually comfortable, reduce any sensation of eyestrain and increase overall reading satisfaction.

The headline font “New Spirit” was selected for its positivity and its distinguishable individual characters, but also for the subtle edits to the letterforms that help persons with visual impairments differentiate them. Thanks to stroke contrast, counter widths and opposing angles, we can avoid confusion with potentially similar characters.

For the body copy we chose “Lexend”, whose creator set out to design a solution for persons with dyslexia and visual impairments through clear angles, distinctive shapes, high contrast ratio, wide character spacing and clear distinction between similar-looking characters, such as “l” and “1" to make the text easier for individuals who have visual or cognitive disabilities.

As for the measuring unit, we chose a REM unit instead of the typical pixel or points measurements for the text size so that people with low visibility can resize text in their devices without loss of content or functionality.

For typography, we chose fonts based on the principles of accessibility and readability, therefore, keeping our choice to two fonts only in order to minimise visual confusion as well as fatigue. They are visually comfortable, reduce any sensation of eyestrain and increase overall reading satisfaction.

The headline font “New Spirit” was selected for its positivity and its distinguishable individual characters, but also for the subtle edits to the letterforms that help persons with visual impairments differentiate them. Thanks to stroke contrast, counter widths and opposing angles, we can avoid confusion with potentially similar characters.

For the body copy we chose “Lexend”, whose creator set out to design a solution for persons with dyslexia and visual impairments through clear angles, distinctive shapes, high contrast ratio, wide character spacing and clear distinction between similar-looking characters, such as “l” and “1" to make the text easier for individuals who have visual or cognitive disabilities.

As for the measuring unit, we chose a REM unit instead of the typical pixel or points measurements for the text size so that people with low visibility can resize text in their devices without loss of content or functionality.

For typography, we chose fonts based on the principles of accessibility and readability, therefore, keeping our choice to two fonts only in order to minimise visual confusion as well as fatigue. They are visually comfortable, reduce any sensation of eyestrain and increase overall reading satisfaction.

The headline font “New Spirit” was selected for its positivity and its distinguishable individual characters, but also for the subtle edits to the letterforms that help persons with visual impairments differentiate them. Thanks to stroke contrast, counter widths and opposing angles, we can avoid confusion with potentially similar characters.

For the body copy we chose “Lexend”, whose creator set out to design a solution for persons with dyslexia and visual impairments through clear angles, distinctive shapes, high contrast ratio, wide character spacing and clear distinction between similar-looking characters, such as “l” and “1" to make the text easier for individuals who have visual or cognitive disabilities.

As for the measuring unit, we chose a REM unit instead of the typical pixel or points measurements for the text size so that people with low visibility can resize text in their devices without loss of content or functionality.

For typography, we chose fonts based on the principles of accessibility and readability, therefore, keeping our choice to two fonts only in order to minimise visual confusion as well as fatigue. They are visually comfortable, reduce any sensation of eyestrain and increase overall reading satisfaction.

The headline font “New Spirit” was selected for its positivity and its distinguishable individual characters, but also for the subtle edits to the letterforms that help persons with visual impairments differentiate them. Thanks to stroke contrast, counter widths and opposing angles, we can avoid confusion with potentially similar characters.

For the body copy we chose “Lexend”, whose creator set out to design a solution for persons with dyslexia and visual impairments through clear angles, distinctive shapes, high contrast ratio, wide character spacing and clear distinction between similar-looking characters, such as “l” and “1" to make the text easier for individuals who have visual or cognitive disabilities.

As for the measuring unit, we chose a REM unit instead of the typical pixel or points measurements for the text size so that people with low visibility can resize text in their devices without loss of content or functionality.

Effective simplicity for the page structure and front-end code

Effective simplicity for the page structure and front-end code

Effective simplicity for the page structure and front-end code

Effective simplicity for the page structure and front-end code

Effective simplicity for the page structure and front-end code

The page structure and art direction of this paid post were based on the concept of effective simplicity. This means that the colour choices, typography selection and layout structure were carefully considered and planned to achieve not only harmony and balance throughout the entire experience but to also make it accessible to people who may have visual impairments and other disabilities.

When it came to coding the page, I settled on a simple, straightforward, consistent, easy to read and unified structure that is easy to scan and understand. The code semantics allowed me to build this content programmatically, so assistive technologies can access content in the same order it is visually displayed.

To make it easier to navigate the page, we have a large menu at the top that our readers can use to quickly jump to the section they’re most interested in, but at the same time we introduced a smaller easy-to-access link on the bottom right that will quickly take readers straight to the top of the page again without having to scroll all the way up. 

The page structure and art direction of this paid post were based on the concept of effective simplicity. This means that the colour choices, typography selection and layout structure were carefully considered and planned to achieve not only harmony and balance throughout the entire experience but to also make it accessible to people who may have visual impairments and other disabilities.

When it came to coding the page, I settled on a simple, straightforward, consistent, easy to read and unified structure that is easy to scan and understand. The code semantics allowed me to build this content programmatically, so assistive technologies can access content in the same order it is visually displayed.

To make it easier to navigate the page, we have a large menu at the top that our readers can use to quickly jump to the section they’re most interested in, but at the same time we introduced a smaller easy-to-access link on the bottom right that will quickly take readers straight to the top of the page again without having to scroll all the way up. 

The page structure and art direction of this paid post were based on the concept of effective simplicity. This means that the colour choices, typography selection and layout structure were carefully considered and planned to achieve not only harmony and balance throughout the entire experience but to also make it accessible to people who may have visual impairments and other disabilities.

When it came to coding the page, I settled on a simple, straightforward, consistent, easy to read and unified structure that is easy to scan and understand. The code semantics allowed me to build this content programmatically, so assistive technologies can access content in the same order it is visually displayed.

To make it easier to navigate the page, we have a large menu at the top that our readers can use to quickly jump to the section they’re most interested in, but at the same time we introduced a smaller easy-to-access link on the bottom right that will quickly take readers straight to the top of the page again without having to scroll all the way up. 

The page structure and art direction of this paid post were based on the concept of effective simplicity. This means that the colour choices, typography selection and layout structure were carefully considered and planned to achieve not only harmony and balance throughout the entire experience but to also make it accessible to people who may have visual impairments and other disabilities.

When it came to coding the page, I settled on a simple, straightforward, consistent, easy to read and unified structure that is easy to scan and understand. The code semantics allowed me to build this content programmatically, so assistive technologies can access content in the same order it is visually displayed.

To make it easier to navigate the page, we have a large menu at the top that our readers can use to quickly jump to the section they’re most interested in, but at the same time we introduced a smaller easy-to-access link on the bottom right that will quickly take readers straight to the top of the page again without having to scroll all the way up. 

The page structure and art direction of this paid post were based on the concept of effective simplicity. This means that the colour choices, typography selection and layout structure were carefully considered and planned to achieve not only harmony and balance throughout the entire experience but to also make it accessible to people who may have visual impairments and other disabilities.

When it came to coding the page, I settled on a simple, straightforward, consistent, easy to read and unified structure that is easy to scan and understand. The code semantics allowed me to build this content programmatically, so assistive technologies can access content in the same order it is visually displayed.

To make it easier to navigate the page, we have a large menu at the top that our readers can use to quickly jump to the section they’re most interested in, but at the same time we introduced a smaller easy-to-access link on the bottom right that will quickly take readers straight to the top of the page again without having to scroll all the way up. 

As for animations, we refrained from adding complex interactions and any excessive motions to ensure that we didn't trigger vestibular disorders and seizures, and that none of the page elements are distracting and disruptive for people with cognitive disabilities, especially on smaller devices such as mobile phones.

As for animations, we refrained from adding complex interactions and any excessive motions to ensure that we didn't trigger vestibular disorders and seizures, and that none of the page elements are distracting and disruptive for people with cognitive disabilities, especially on smaller devices such as mobile phones.

As for animations, we refrained from adding complex interactions and any excessive motions to ensure that we didn't trigger vestibular disorders and seizures, and that none of the page elements are distracting and disruptive for people with cognitive disabilities, especially on smaller devices such as mobile phones.

As for animations, we refrained from adding complex interactions and any excessive motions to ensure that we didn't trigger vestibular disorders and seizures, and that none of the page elements are distracting and disruptive for people with cognitive disabilities, especially on smaller devices such as mobile phones.

As for animations, we refrained from adding complex interactions and any excessive motions to ensure that we didn't trigger vestibular disorders and seizures, and that none of the page elements are distracting and disruptive for people with cognitive disabilities, especially on smaller devices such as mobile phones.

CREATIVE DIRECTOR

Céline Bouchez

CREATIVE DIRECTOR

Céline Bouchez

CREATIVE DIRECTOR

Céline Bouchez

CREATIVE DIRECTOR

Céline Bouchez

CREATIVE DIRECTOR

Céline Bouchez

SENIOR DESIGNER

Ana Sêrro

SENIOR DESIGNER

Ana Sêrro

SENIOR DESIGNER

Ana Sêrro

SENIOR DESIGNER

Ana Sêrro

SENIOR DESIGNER

Ana Sêrro

DEVELOPMENT

Ana Sêrro

DEVELOPMENT

Ana Sêrro

DEVELOPMENT

Ana Sêrro

DEVELOPMENT

Ana Sêrro

DEVELOPMENT

Ana Sêrro