GOAL 4: Quality education
Sonam Fazeli
This poster was designed to communicate the importance of educating women as a pathway to leadership and business success. Using simplistic imagery of a blazer and graduation cap on wall hooks, the visual represents the journey from academic education to professional achievement. The bold, typographic phrase educate her. build leaders, reinforces the message that education is not only a right, but also a vital tool for empowerment and economic progress.
Emma Woolldridge
Promoting a call to action that strives to implement sex education in secondary schools, this outcome provides an inclusive approach to a stigmatising point of discussion. Vibrant, illustrated condoms are scattered over a page of lined paper. The large, typographic phrase provides a hopeful stance on the subject matter through double meaning and word play. With the addition of the handwritten type, it suggests that children are the ones impacted by the highlighted statistic.
GOAL 8: Decent work and economic growth
Mariam Al-Alami
The call to action in this poster promotes the fight for living incomes for coffee bean farmers. It encourages audiences to be conscious consumers and support brands that use ethically sourced produce, such as Fairtrade. The neutral colour palette is a reference to natural and organic farming methods and to the colour of coffee itself. Wood type has been used for the title as the process of letterpress printing requires manual labour, similarly to the cultivation of coffee beans.
Jemima Franklin
Encouraging all audiences to take action by helping the youth gain skills for the workplace, the phrase, it’s not you, it’s us, shifts pressure from young people to those with power. The call to action promotes mentoring programmes as a direct solution. Letterpress printing adds a textured, humanised quality that emphasises support over criticism, giving the poster a sense of hope. Bold typography reflects the weight of employers’ words, while minimal colour and scale evoke the urgency of protest posters.
GOAL 9: Industry, innovation and infrastructure
LIV LEWIS
This outcome highlights the positive development towards Goal 9. A cloud pattern with the majority of the clouds being outlines, represents the CO2 in the atmosphere decreasing, meaning that there are less clouds in the sky. The type being in the shape of clouds emulates an artistic nature that aims to entice a younger audience into learning about the Global Goals.
GOAL 11: Sustainable cities and communities
EMMA JENKINS
Encouraging audiences to educate themselves on Aboriginal communities and their culture. Big, bold, text is used to advocate for protecting these groups and the elements are inspired by Australian Aboriginal artwork to celebrate the beautiful culture. The poster aims to inspire people to get more involved in educating themselves in understanding how we can help protect these communities and create a more sustainable planet.
JOSEPHINE TAYLOR
Inspiring students to collaborate and take an active role in shaping sustainable cities for the future, this poster shows their potential to influence urban planning, architecture and city development in their careers. The vibrant city is made up of modern buildings, renewable energy sources, public transport and trees reflecting the kind of sustainable urban environments we should strive to create. The title motivates and empowers viewers to prioritise sustainability, both in their daily lives and future careers.
GOAL 17: Partnership for the Goals
REBECCA NEALE
This outcome highlights the importance of people and organisations working together. Bold lettering composed in circles is used to draw attention and create impact, reflecting the urgency and significance of global collaboration. Each letter represents a different Global Goal by its colour, showing how progress across all of the Goals is connected. The logo for Goal 17 sits at the centre of the page as an anchor point, showing how partnerships bring the goals together.
AMIRAH YASIN
With the aim of strengthening global partnerships, this poster explores how the Global Goals are more effectively achieved when organisations and partnerships work together. Individual circles represent organisations, while the connecting nodes symbolises unity, something vital to the success of the Goals. The use of gradients and colours inspired by the seventeen Global Goals reinforces the idea that progress is only possible through collective effort.
GOAL 1: No poverty
Grace Johnson
This poster raises awareness about period poverty while challenging related stigmas. Inspired by the recycling symbol, the arrowed blood droplet represents support for accessible, reusable menstrual products, highlighting the need to break the cycle of poverty. Typography, such as a menstrual cup replacing the letter T, reinforces the focus on sustainability. A bold yet feminine colour palette, especially the use of red, symbolises menstrual blood and reimagines it as something empowering, rather than shameful.
Luna Yacoub
Striving to foster connection and support children in extreme poverty, this piece combines digital tools and raw materials like tape and torn paper. The contrast between the two sides reflects the divide between privileged and disadvantaged communities, while the tape symbolises hope – a bridge that brings communities closer together. Global initiatives like the UN World Food Programme are making a difference, but more remains to be done. Your support matters.
GOAL 2: Zero hunger
ZAYNAB FAROOQUE
This poster shows the humanity behind the issue of hunger. The heart shape is universally associated with compassion and love. Forming a heart with familiar branded food packaging, it draws attention to the unseen people who don’t have access to these everyday items. It also shows that beneath systems of inequality that may lead to hunger, it is a deeply human experience. The ripped up packaging symbolises struggle, but the heart gives it emotional depth. This poster asks the viewer to respond emotionally rather than logically.
CREAMY LI
Wonky fruit falling into a brown paper bag, symbolising the urgent call to choose and celebrate imperfect produce. The design challenges the idea that food has to look perfect to attract people to buy it. Choosing this alternative means we take a simple, but powerful step towards reducing food waste and zero hunger, because perfectly good fruit shouldn’t go to waste just for how it looks.
GOAL 3: Good health and well-being
RACHEL BRANSCOMBE
Raising awareness about substance abuse, in order to prevent it, was a key goal throughout the creative process. Prevention and treatment is highlighted through the phrase hope over harm, which aims to inspire the recovery journey of those affected by addiction. Typography combined with smiling faces inside the letters suggests that positive outcomes are possible when individuals are supplied with the right resources to recover. This message is reinforced through bold, sans-serif type to ensure clarity and impact.
ANIS RAUF
In this poster, a phone screen is shown to demonstrate a user’s mental load screen time. Not only does this outcome address physical healthcare, but it also touches upon mental health, an aspect that is commonly involved yet infrequently discussed. A sans-serif typeface is used throughout the poster to imitate a digital screen, with bar charts providing a visual representation of the issue at hand.
GOAL 5: Gender inequality
HARRY HERD
Using the powerful song lyrics in ‘Graceland Too’ by Phoebe Bridgers’, this outcome speaks to a youthful audience, with the aim to promote gender equality and inspire young women. By combining old letterpress technology and masking tape, the design of the campaign has an edgy, punk-like feel to it, prompting urgent and rebellious action towards the patriarchy.
HANNAH RAJA
The pronouns he, she and we have been printed using letterpress technologies, with unity symbolised through overprinting we on top of he and she. The colour palette is purposeful: red represents the goal being designed for, and purple, used in we, signifies inclusivity and is often associated with International Women’s Day. Since red and blue combine to make purple, blue was chosen as the third colour to reinforce the idea of coming together. Collectively, the palette and typography highlight a unified society working towards global gender equality.
GOAL 5: Reduced inequalities
Tommy Molnar
Unbalanced scales tell the story: corporate gold bars weigh down one side, while charity workers struggle to lift the other. A hand lowers a gold coin – small in size but shining brighter than the gold bars below – showing how even the smallest contribution can shift the balance. Lowercase, unadorned typography reinforces the power of quiet, individual action. The design invites reflection upon inequality and the potential for change through conscious, collective effort.
GOAL 16: Peace, justice and strong institutions
MYA AMIN
This poster combines historical visual language with contemporary messaging, resulting in a striking design that is emotionally resonant and visually impactful. It encourages audiences to use the poster at protests to promote peace. Through the use of hand-pressed wood type, it draws inspiration from twentieth-century protest posters. The phrase justice for all, peace for the future intentionally signifies hope, aligning with the aims of the Be Hope campaign.
GOAL 1: Clean water and sanitation
NICOLE AZANOVA ISHERWOOD
Highlighting the importance of global sanitation issues, this outcome provides a striking visual representation of flushing inequality through bold and impactful typography. The spiral motif, symbolising a toilet flushing, reinforces the powerful message of eliminating widespread, unequal access to basic sanitation facilities around the world.
Ethan Nunn
Echoing the theme of the 2025 Global Goals campaign, Be Hope, this outcome communicates a positive statistic from the realm of wash (water, sanitation and hygiene), a critical area of global health concern. The use of drainage pipework as lettering for the numerals arrests the viewer, and the design takes cues from 1970s protest posters to reuse elements in unexpected ways.
GOAL 12: Affordable and clean energy
KHAWATER NAJDI
This design aims to raise awareness about the importance of accessible clean energy through a visually engaging and dynamic approach. Glowing typography and vector graphics symbolise the vibrancy and potential of sustainable energy. By incorporating movement and bold contrasts, the design mimics the flow and transmission of electricity, drawing attention to the urgency of energy challenges. This work communicates a clear message: clean power leads to a brighter, more equitable future for all.
IZZY NESBITT-Parry
This poster celebrates solar power, highlighting it as the key to achieving clean and affordable energy across the globe. Featuring a striking solar panel and the hopeful statement solar power is our future, the design encourages urgent action toward sustainable innovation. The vibrant, forward-looking aesthetic reinforces the message that renewable energy is essential for building a cleaner, more equitable world.
GOAL 13: Responsible consumption and production
OSCAR DUDLEY
This piece aims to disrupt current discourse around sustainable consumption through expressive, angled typography that reflects its harmful, cyclical nature. Inspired by anti-establishment figures like The Sex Pistols and Barbara Kruger, it uses bold colours and the tagline please consume wisely today. The display type was created using letterpress, adding emotional weight and a distinct worn effect to the design.
CRISTINA PONS
Focusing on the small things that make a big difference, this poster highlights the importance of shopping locally, and not supporting large corporations and companies. The hand-illustrated characters and icons convey a friendly message, making it more approachable to a wider audience. The block sans-serif used for the typographic slogan shop local is used to complement, but also stand out against the colourful grid.
GOAL 14: Climate action
DIOGO PEREIRA
Tackling climate change through the lens of fast fashion, this poster utilises a striking visual of Earth wrapped in abandoned textiles to highlight the weight of overconsumption. A muted palette and simple language keep the message clear and accessible. The phrase there is still time to choose better emphasises optimism and encourages action. By embedding the planet in familiar materials, the design makes the environmental impact of fashion feel personal and urgent.
Goal 14: Life below water
HOLLY O’HARA
This poster emphasises the need to protect our oceans and marine life from plastic pollution. Using hand-drawn text, the phrase healing the ocean appears within the waves, symbolising how the health of marine life is deeply connected to human action. The two plastic items floating in the water represent everyday waste that harms oceanic ecosystems. The outcome encourages viewers to consider their own impact on the environment while conveying a hopeful message that with collective effort, global restoration of our oceans is still achievable.
CAITLIN RANCES
This poster encourages a call to action that seeks to improve life below water. The use of plastic waste imagery emphasises to the audience that global change needs to happen now. The visual elements of type and image work together to remind viewers that immediate action is needed to preserve our oceans and the ecosystems living in it.
Goal 15: Life On Land
MALAK RAMADAN
This poster communicates a sense of hope and urgency, reminding audiences that there is still time to take action. The visual of dying leaves is used to evoke emotion and inspire students to get involved, showing that even small actions can make a big difference. Outcomes are printed on Cyclus, 100% recycled paper, aligning the production process with Goal 15 itself. This reinforces the idea that considered design choices can contribute to a more sustainable future.
Greg (https://bunbury.co/)
The Global Goals (https://www.globalgoals.org/)
The Arts Committee (https://www.reading.ac.uk/about/governance/arts-committee)
The Real Jobs Team: Sara Chapman and Geoff Wyeth (https://typography.network/real-jobs-scheme/)
