Laus Aporta-Fundació Banc Sabadell 2018

Projects that stand out for their social, economic or cultural contribution.

The Laus Aporta-Fundació Banc Sabadell Award evaluates the projects that stand out for their social, economic or cultural contribution. The Chairman and Chairwoman from all the categories along with Montserrat Corominas, deputy director from Col·lecció d'Art Banc Sabadell, present this award from all the projects submitted at the competition.

From the 1200 projects of this edition, 'The Good Virus' from Contrapunto BBDO and 'Soror' from Natàlia Pàmies have been the projects selected in the Professional category and Students category respectively.


'The Good Virus' from Contrapunto BBDO

7% of child population is affected by Specific Language Impairment (SLI). A high percentage that makes it worth to speak about it. It is important to know and study it, to make a correct diagnosis and to prepare the ground for a correct treatment. This is the great objective of the Good Virus campaign, an effective and very encouraging action created by the advertising agency Contrapunto BBDO and promoted by ATELCA (Catalonia’s SLI Association).

What is SLI? It is a serious and lasting disorder that affects the acquisition of language since its inception. Despite its high incidence, it is still very unknown among health professionals and, no need to say, among the population in general. SLI is prolonged during childhood and adolescence, and in some cases it can leave significant sequels in adulthood.

Not all children have the same symptoms, since SLI does not always affect in the same way or with the same intensity the different parts of language (comprehension, pronunciation, syntax, social use of language ...). Initially, its symptoms overlap with those of other developmental pathologies. Sometimes there is a time of evolution and response to the treatment to confirm or correct an initial diagnosis.

SLI identification must be done by professionals specialized in this type of alterations. That is why it is essential to prepare for SLI detection even at education stages. This is the context of the Good Virus campaign, which this year has been awarded with the Laus Aporta-Fundació Banc Sabadell award in the Professional category.

Good Virus’ main ingredients are confusion and surprise. Through these resources, which belong so purely to advertising, it is easier to reach the recipients, appeal to their emotions, convince them and move into action. In this case, those recipients are any university student in medicine, teaching, speech therapy and psychology, willing or capable of specializing and eventually diagnosing and dealing with situations and cases of SLI. The surprise consisted of spreading an unexpected and mischievous computer virus that sneaked into the students' computers and distorted their behavior so that the computers seemed to have SLI. At the beginning, of course, the students did not understand anything at all: why did their computers wrote the words so uncontrollably wrong? Then the mystery was revealed: the equipments were affected by a Specific Language Impairment.

The metaphor reveals the importance of SLI and the difficulties of its identification. To inform about SLI, to raise awareness among professionals and to introduce SLI in university curricula are ATELCA's aims. This NGO has had the vision of trusting an agency as a project mate to communicate and viralize the problem through this video.

Soror from Natàlia Pàmies


Interview to Natàlia Pàmies from EINA, winner of the Laus Aporta with her project 'Soror'.

Why this project? What motivated you?
It comes from a purely personal need.  I kept hearing more about feminism and I felt identified with it, but I had never researched it, so I took advantage of my final project to learn more about the subject. When I started to research feminist publications I was immediately struck by the design: the majority seemed to be associated with traditional conceptions of femininity (pastel colours, a delicate design) or with older symbols of feminism (purple, the icon of the raised fist). The content was progressive, but the visual codes didn’t seem to be. I decided that it would be a useful design exercise to make content and form inseparable and at the same level.

What is Soror like?
It has a series of graphic elements that are consistent in all editions (format, paper, margins, columns, numbering) and others that vary according to the subject: typography, art direction, page architecture and graphic resources. In terms of visual style, I established some common values to unify all the issues of the magazine: criticism, inconformity, transgression and reflection. All the content is authentic, mostly made up of theses, opinion pieces and interviews.  

What role does typography play?
Its function is purely expressive but there is a coherency behind it as an element that strengthens the content and becomes part of the whole, without taking on an excessive protagonism. As a rule, every edition uses a different typography. In the issue about violence, for example, the use of Druk refers to the impact of the aggressiveness that it is portraying.

What does Soror means for your professional development?
A big challenge. In terms of the process of design, I was looking for a balance between the representation of the concept and the visual interest; I wanted the magazine to express a subversive and critical outlook at every moment. In personal terms, doing Soror represented a ‘before and after’ moment. It’s been confusing and at the same time satisfying: I was creating a magazine to raise awareness, but the consciousness that was most being raised was my own.  It was a positive experience and it’s a good idea to do your final project about a subject that it’s interesting to learn about.  

What designers do you admire and follow?
Among the nearest, I love the work of Carles Murillo, Ana Domínguez and Curro Claret. I like their projects because they have a soul and they don’t follow a lot of the current design trends. In regard to the designers that create those trends, I admire Mirko Borsche. He doesn’t follow any rules.

The future?
I want to be involved in projects that I like and that make a real difference. I’d like to grow my knowledge towards other disciplines and not just restrict myself to graphic design projects.  


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