a. Good. I think to some extent it's navel-gazing. How many non-designers (or potential clients) read How, Print, etc.? I would guess not too many.

b. Yes. Although I've only entered a couple (partly because of the price).

c. I've entered the HOW and ID interactive competitions. (Didn't get in)

d. Paying for the judges, extra printing, promotion, dealing with the quantity/quality of entries, etc.

e. Not really. But I think it would be nice for clients to be able to see it. I think building a buzz for yourself is more effective than winning awards. And by building a buzz, I mean having a high profile in the industry; contributing to the aforementioned design mags, speaking engagements, big-time design discussion sites, etc.

Do the Addy Awards count as design awards?

The company I worked for a few years back hosted the Call for Entries and the judging for the local AdFed Addy Awards, so I got to hear a little gossip about how things were run.

Would you believe some of the judges didn't even bother to look at all the entries before declaring a winner? Or if they did take the time to glance through an interactive CD, they basically just pulled a name out of a hat and decided that one would take home the Addy.

There are other design competitions in the area that probably aren't so arbitrary, but for many of the points kyle mentioned I've never seen fit to enter my own work. Too expensive, too little prospect to actually win.

Then again, I think it's a good idea to get your name out there, even if only as a participant...

a. Good or bad?

depends, some work you can judge without knowing much background. other work cannot be judged by a bunch of people that don't know the story behind a piece.

b. Do you enter work for awards?

usually i don't

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

id magazine maybe. i believe awards that are given by clients, or unsolicited recognition is much more valuable

d. Why so frickin’ expensive?

the idea of awards, i believe is to raise funds. thats another problem i have with these things.

e. Do they matter?

not to clients, to peers and to students looking for work, yes.

f. Do you play down the awards you’ve won?

i don't play them up.

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

a couple.

h. If you have ever juried one, what happens there that affects the outcome (for good or bad)?

not enough time, knowledge to truly judge.

I'm not sure how I feel about awards. Sometimes I think it's a total racket. I mean the organizations, magazines, etc...that have these design competitions make money off of them. So, you'd think that if a firm puts alot of their work into these competitions, it behooves the organization that is sponsoring the competition to give the firm that had many entries at least one award, regardless of creativity. Mostly because they've spent so much money entering. And since the organization wants to make money off of these competitions, they want companies to keep entering year after year.

I'm not saying it's like that for all competitions. Some, like the paper company competitions, don't charge. And some magazines have a minimal fee that probably just covers the cost of the direct mail pieces, administrative costs and costs for judges/judging. But some of these competitions seem a little sketchy to me.

I've been a judge and have been judged, and what I find interesting about some of these competitions is that you have no idea who is actually judging your work. And the winning entries of these competitions are deemed the best of the best in our industry when really what wins is the best of the entries to that particular competition.

Some competitions like Print magazine, AR 100, Comm Arts, I.D. pick a handful of people to do the judging and highlight the judges expertise so one knows their qualifications. Those competitions seem more valuable to our community than others.

In terms of winning the awards...

My work has won awards. Some of the awards make me feel proud (see previous paragraph) while others I don't care about. Although it's always nice to get recognized for your hard work. When you highlight the fact that your work has won awards, it's not necessarily a celebratory or bragging position, it becomes more of a justification or qualification that you or your company does good design. Because if that's not the bottom-line for these competitions, what is?

I've said this bit before, but since it's a whole new thread, I'll throw it out there again.

The contest that would be most appealing to me is one which is judged both from a design and business perspective. The results would be put in better context and would go along way towards giving design better credibility. The Mead AR show used to print briefs by both designer and client, and they wouldn't always match. It would be an invaluable learning tool for both sides to see where design helped and where it might have gotten in the way.

This is obviously a difficult task to undertake, but not impossible. You could have two sets of judges - one made of the typical designers and one with VPs of Marketing and such. Much like the old 100 Show from ACD (which would split the results by how many judges chose it), the annual could then be split into designers' picks and marketers' picks with explanations from both sides and, hopefully, the actual client.

I've never submitted any entries, primarily because the work that I am most pleased with/proud of is that which succeeded most within its context, or within the limitations imposed upon me. These are not necessarily my "prettiest" pieces. Since, like jonsel, I always get the impression from the award showcases that aesthetics trumps all else (except in maybe the DMA's Echo Awards, which factors in response data), I just let 'em pass me by. There have been a few times where I have considered sending in self-promo pieces, but the costs have been the main deterrent then. If I had felt confident I might have a chance at winning I suppose I would have coughed up the bread, but self-doubt + low cash flow = sidelines.

a. Good or bad?

Huh?

b. Do you enter work for awards?

Yes.

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

Although some may be more prestigious, longer odds/ more selective (arithmetically), etc., I don’t buy the “x is worthy and y is not” approach. From a standpoint of choice for entry it’s a cost/benefit analysis—some really are just too expensive for me to consider.

d. Why so frickin’ expensive?

It is not a simple or cheap thing to do right.

e. Do they matter?

Probably not. Some clients like the ego boost of having an affirmation of their judgment to hang on the wall. Is the question “do they mean anything about design?” Individually no. Anyone with half way competent work, persistence, and entry fees will get a few sooner or later. I tend to think that they mean something collectively but only as a measure of one aspect of success in design.

f. Do you play down the awards you’ve won?

I’ve used awards as news release fodder. There’s a list buried in my website. They are mentioned (but not dwelled upon) in my bio. I guess that’s playing them up but I don’t focus on them. It strikes me that playing them up too much is counterproductive in promoting a design business. Nobody hires me to win awards, per se. (There are times when winning awards can be a valuable PR tool for the client but it is rare that this is of significant value.)

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

More than 75

h. If you have ever juried one, what happens there that affects the outcome (for good or bad)?

I was one of the judges for the student section for Critique. It was handled very well. I only saw finalist work so I didn’t decide who was included, just who was awarded, so I got the easy part. Sorry, no nasty stories.

I was the judge for a city (I won’t say which) editors association competition once. The work was so bad I couldn’t believe it. I asked if I could not give any award in several categories and they told me I had to.

Like anything else, awards are only bad if taken too seriously. If you think an award makes you a better designer, or proves anything besides the fact that you entered, then you are in trouble.

Awards a just another marketing tool. Both for the design companies and the organizations/magazines that give them. From the corporate point of view, they are useful to keep your name visible and your clients happy; just as promos, christmas gifts, or good publicity.

I have to agree with Paul's comments - most awards seem to be given only on the merit of the entries' aesthetics (which is usually lifted from a current trend), and not on the merit of what it accomplished within its constraints. I hate that, and thus never enter competitions.

However, I have to admit that I pore over the published award-winning entries in any magazine, in fact, if I only buy one issue of a magazine a year, it would be the one with a gallery of award-winning work. So although, I don't like them, I do end up supporting them.

Max raises an interesting question; of those who are loathe to enter the competitions, who among you still love (or are at least curious) to look through the annuals?

I know a few people who have served as jurors for the AIGA 50 Books/50 Covers show, and their reports—while not all bad—tempered my desire to get a book in the show. It sounds like the qualities I value in a book are not the ones that are chiefly rewarded, so that particular show has slipped down on my list of professional goals.

In some ways I think these shows must mean the most to designers who don't feel supported by their colleagues or their organization at large. Awards are great internal credibility-builders.

And P.S., I pore over the annuals!

I'd only say that the really valuable awards seem to me to be the ones in other industries. The Grammys have an award for CD packaging design, and the James Beard Awards have 2 prizes for restaurant design (interior design) and restaurant graphics (aka the Louise Fili Annual Award). If the real benefit of awards is name recognition, name recognition in your clients' respective industries seems extra-valuable because they pay attention to it and they're the ones paying you the money.

And I agree I am likely to buy only the awards annuals if I buy one design magazine a year. But try looking at one of these annuals 2 years later, or even one. It ain't aging like fine wine.

a. I think they are good, they get to be bad when, like Jesus said, they are taken too seriously. If somebody based their design worth on awards received then that would be very screwed.

b. Yes, but not constantly.

c. I.D. is good, also STEP 100 is cool because they usually come with smart explanations. AIGA's 365 is cool too. CA is kind of hard.

d. When they get over $75 is when I think it becomes kind of a joke and I start questioning the cost.

e. This they don't matter to clients thing, I dunno. I would assume it plays a certain role, maybe not a defining one but surely they are taken into consideration. For example, when we met our cat sitter (yeah, whatever, OK?) she came with a few newspaper clippings of short success stories on her. It definitely gave her bonus points over other kitty nannys. So watching after cats is not as important as watching after brands, but still.

f. Both. Up when it's good for me, down when it's good for me.

g. Awards just four, five maybe. A few publications.

Good topic Ginny.

I've won, organized, judged, and been involved w/ a number of award shows. Not to brag, but to qualify my bs below.

a. Good or bad?

Good. Designers all pretend that they'd rather work in a vaccuum where their work needs no publicity or validation from others. Too cool for school. Well, the reality is quite the opposite I think.

We all like seeing good work, regardless of whether it's ours or not. We all want to keep in touch with what's being done in our industry. And we all guage what we produce based on it. Award shows serve a useful function in propogating the culture of our industry.

It has essential functions that benefit more than harm.

b. Do you enter work for awards?

Yes. We have a budget for award submissions -- similar to our marketing and PR budget.

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

This is just a matter of preference, but for me -- we seek shows with high visibility, circulation, creditability. CA, Print, AIGA, AR100, HOW, etc.

d. Why so frickin’ expensive?

The shows are expensive to run, plus, many are revenue generators.

e. Do they matter?

Yes. It may be tough to pin down the ROI on a cost basis -- but I believe that awards are very essential to creative industries. For small firms, it can be an invaluable PR tool. For medium to large firms, it establishes a reputation which helps to recruit the best talent to continue upholding the quality of work. Internally, awards can foster pride and morale in the design team -- and can instill a standard to uphold.

I always hear grumblings about how awards doesn't matter to clients. That isn't necessarily true. They may not know specifics -- but believe me, clients care. Results must also accompany the awards, but clients seek resources and vendors they see as leaders in the industry. The bigger your reputation and notoriety, the more valuable you are at the table. Ask Weiden+Kennedy, or VSA, or Cahan.

For those who dis the value of awards -- don't dismiss what you haven't attained. First get the fame and glory, then tell me you don't value it.

f. Do you play down the awards you’ve won?

No, we send out press releases, and tell our clients when we've won an award on one of their projects. Without exception, every client has been excited and proud to know that their work has achieved recognition in the design arena. It validates their choice in choosing you.

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

Lots -- probably 5-10 a year. But I remember more omissions than inclusions. I have yet to make the AIGA annual for some reason dammit. But I've made everything else I've cared to enter.

h. If you have ever juried one, what happens there that affects the outcome (for good or bad)?

My experience serving as a judge is complicated. It depends on the dynamics with the other judges, and the quality of work submitted for that particular show. I can tell you right now that the initial mood of the jury determines much of the outcome. There's also a difference between determining what the "best work" is and what the "good work" is. They're not always the same. In the juries I've served on, we've always made it a point to meet each other ahead of time to discuss the goals of the show and the criterias of what we're doing.

A good awards show is as dependent on the dynamics of the judges as much as the quality of the submissions.

.....

We just held The Seattle Show here last week, an awards show that combines efforts from both design (AIGA) and advertising (Seattle AdFed) communities locally. I was involved on a number of fronts, so this is a very fresh topic in our office.

Most of the award examples listed are magazine design annuals. They solicit entries and provide awards for one reason only: revenue. That's how they make money as design mags.

Rarely do I see any of these magazines offering up any business arguments for why a particular design was succesful. This makes them rather un-interesting from a business standpoint. Of course, it is pretty eye-candy. Nothing wrong with that.

I used to pour over these annuals, but rarely do anymore. I maybe spend 15 minutes with them at the book store on occasion, but that's about it.

The last round of interactive annuals were mirror copies of each other and consisted of re-hashed all-flash concepts from last year.

Until Google wins an award in one of these magazines, I'll continue to relegate them to the 'decoration, but not necessarily design' pile. ;o)

The notable exception for magazine-run awards would be ID. They tend to expose at least SOME business logic/reasoning behind the entries. Graphis sometimes has some validating write-ups as well.

While I haven't been directly involved, I do know that our local AIGA chapter is hoping to move some of the interactive awards into a more business goal driven format. The idea is apparently getting some mixed feedback. I look forward to seeing where it goes...

For those who dis the value of awards -- don't dismiss what you haven't attained. First get the fame and glory, then tell me you don't value it.

Point taken, Tan, but what about Bruce Mau? I've never been clear how exactly he got so renowned, before the sort-of sensation of SMXXL. It's not like any of those MIT Press books were bestsellers.

I also forgot to mention the Caldecott Award for children's books. Way more presitigious than being in AIGA's 365, fmm.

there's a few (quite a few-most, in fact) awards things in japan that emphasise broad and rich self-motivated work above anything else, which as far as i know is unique (globally speaking). those are pretty much the only ones worth entering, i think.

a. Good or bad?

Good. Save all your integrity for your design decisions and be a self-promotional whore.

b. Do you enter work for awards?

No. I will take a tally at deadline time and see what I think is 'worthy'.

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

CA is the toughest. As is AIGA and TDC. The rest are very very competative.

d. Why so frickin’ expensive?

Makin' money? I dunno, my guess is it is VERY VERY labor intensive to do these things.

e. Do they matter?

Yes. See answer to a.

f. Do you play down the awards you’ve won?

Nah, see answer a. I announce it and try to make a sensibly big deal about it. I don't go crazy or try to convince myself they mean more then they mean.

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

Unlike Tan, It's not a gimme if I enter. I've been in design for 9 years and entering shows for about the last 5. I've been in CA 3 times in a row (Orlando was shut out this year, D'oh!). PRINT several years running, Graphis, and several books. HOW I've been missing recently - I forget, nothing agianst them, I just tend to forget.

I am coveting CA, TDC and AIGA. Or what I call the 'trifecta'

h. If you have ever juried one, what happens there that affects the outcome (for good or bad)?

I've assisted show judgings locally and I've judged regional shows. All I can say is at one time or another WITNESS A JUDGING. It puts everything into perspective. On many levels you'll value shows more.

> Unlike Tan, It's not a gimme if I enter.

oh I knew I'd come off as pompous. We enter lots of things, and only a tiny percentage wins. And out of the handful of things we get in yearly, only 1 or 2 are of any real significance. At least in this crowd. By no means are we of Cahan or VSA's caliber. Not even close.

A story.

My wife use to work at Hornall Anderson Design Works. In their lobby, there's a 2" binder that is stuffed w/ reprints from magazine articles they've been covered in. And in the back of their office, there's a 10'hx12w wall where they clip all of their awards certificates -- unframed, just hung by the corners. CA, Print, ID, whatever. The award certificates fill the wall four layers thick--there must be hundreds of them. It's impossible not to pass that wall and not be envious and intimidated. That's the whole point of it I guess.

Tan, I didn't think it was pompous. Sorry if I came off that way.

Awards are a nice way to check myself. To allow outsiders in enough to validate the work. I can look back and think 'THAT WAS FUN' but is it good? By national standards? That's nice.

hey, no need to apologize Steve. I blame Armin for posing that baited question.

> but what about Bruce Mau? I've never been clear how exactly he got so renowned, before the sort-of sensation of SMXXL.

Sam, I have no idea how Mau got his notoriety without awards recognition. If I did, I'd copy and do the same thing -- and ditch all of you guys for more famous, snobby friends.

(dream music plays..) Hmmm...one day, when my name becomes synonymous w/ an international design conglomerate...

> I blame Armin for posing that baited question.

Don't blame it on me that you need to be the center of attention. Wuss.

This they don't matter to clients thing

It really depends on the client and how they viewed the work that was done for them. Last year I worked with a client who had previously worked (for many years) with a famous design firm, known for getting awards. My new client's digruntled remark was "They were designing for the awards, not for us."

Ultimately the work I did for them I was very proud of and happy with, and the client was very, very happy with it as well. But I did not enter it in any awards competitions because I suspected it wouldn't win. For one thing, we worked with a budget that was slashed in half, so in comparison to the client's previous years' (many-award-winning) work, it was not as big and flashy as it had previously been. I believe it did the job as well or better than the award-winning work by That Famous Company, but it just didn't have that secret award quality: It wasn't a booklike tome, it wasn't witty or clever, it used no vellum or engraving ...

Anyway, the whole thing was interesting to me, but that is not to say that I eschew awards. I would love to win some big ones (AIGA, CA) -- I would be proud as shit, but I've always been either too critical of my work, or too disorganized (oops! missed the deadline), or ... the times I've entered, I just haven't won. (Oh crap, I just remembered--I did enter the aforementioned piece in one competition -- it didn't win.) I find it insanely depressing.

I do look at awards annuals, and find that usually 70% of it is mindblowingly excellent, 20% is as good as what I believe I could do, and 10% is crap that I just can't understand how it got in there. I love them. You can experience a full range of emotions in a couple of hours with an awards annual, from love and lust, to wonder, inspiration, depression and incredulous rage. It's like seeing a good movie.

Anyway, now that I'm an illustrator, I intend to enter the print annuals of those publications that designers read. That makes sense to me. It's just lottery advertising.

> Wuss.

hey girlie, don't be bitter just cause your name's on a suckier website.

Oh crap, sorry about this big post but...

My first introduction to a design competition was Print's regional design annual. (I think it was the one that Chris Ware did the cover for.) At that point I was a new design student who had just begun to realize the culture of design that was out there, working and doing amazing stuff. The competitions were not something so that I could see MY work, it was something so I could see other people's work. Something that could inspire and help me grow and push myself as a designer. It's the best school textbook I had. I'll admit, they were mostly just pictures, but it was where I discovered my first local design studio (and first job) and it was where I first found my biggest influences and began growing and experimenting as a designer. Where else can someone have a such a huge resource available to them so readily to see what the climate of the general design community is? I can't help but think that unconsciously this is what everyone's goal is when they enter a contest. To be an influence or to have their ideas and aesthetics heard and seen by new minds. I know that to me there's nothing more flattering than some student from somewhere I've never been, saying that something we did inspired them. That's the ultra-payoff for me.

We enter a lot of contests. Mostly Print, How, CA, Graphis, ID (all the stuff that turns into the annuals that I saw while I was in school.) We get some stuff in but probably only 2% of what we send gets published. We don't ever get new work from competitions and we don’t use our acceptance into annuals as promotion. So you have to wonder why we keep entering. What's the benefit? Of course part of it is that it's fun to see your name in print. Anyone who can't admit that is lying. But a part of me likes to think about that person who is looking for something to help them grow and get inspired and see what's new or interesting. I like the idea of maybe being part of that growth.

Defining Oneself Through Negation; Defining Oneself Through Opportunity

Don’t enter awards competitions? Really?! Really, Mr. Mau? Why does he already have so many awards himself? Yes, he has awards. He's won numerous awards including this: a 2003 IIDEX/NeoCon Canada Award for work in Textiles. He just won this! And what about competitions giving you more work? Like the "competition to design Downsview Park on the site of de-militarized grounds in Toronto." Is this okay? Is more work not good for you?

I appreciate Mau, and the work he's done, but how can one occupy both sides of the coin? Why does Mau have the luxury of being for and against? Rebel and opportunist? Is that good for you? It's an interesting ideology. . . conflicting, but interesting. I nominate it as a new topic. Hypocrisy in Professional Practice: Ethical or Opportunistic?

Well ... without knowing the specifics of above Awards-of-Bruce-Mau examples, it is possible to win awards without yourself entering them. The only awards I've won (except one) have been printing and paper awards that either printers or paper reps entered for me. Often clients will enter things into industry awards. Again, without knowing for sure, it's likely that Bruce Mau didn't fill out the forms and lick the stamps for the entries to awards he's won.

I've always loved awards shows; part of the reason is that I think they show, to some degree, certainly not entirely, what is possible. It's like, "Hey, we managed to do something like THIS!" I think awards shows provide great motivation to do better and better work--they absolutely should not be the ONLY or even primary motivating factor in what a writer or designer does, but they're definitely a celebration of sorts and celebrations are fun.

I know a guy who HATES HATES HATES awards shows. Seeing as how he's never won any, I wonder if his hatred comes from not winning them.

Sam wrote:

I'd only say that the really valuable awards seem to me to be the ones in other industries. The Grammys have an award for CD packaging design... ...If the real benefit of awards is name recognition, name recognition in your clients' respective industries seems extra-valuable because they pay attention to it and they're the ones paying you the money.

We've had the pleasure and pain of being Grammy nominees. The nomination process is quite rigorous and one of those cases where even being nominated...

Music industry designers go through something like 3 preliminary rounds EACH in New York, LA and Nashville to whittle down to 5 nominees in best box set and best regular package. "Regular" is a misnomer since previous winners have been special packages with fancy papers, construction, etc.

After that, it's sent out to the regular NARAS membership -- non-designers: musicians, producers, engineers, etc. Out of over 100 categories, members can only vote on a selected number; so in theory this cuts out the possibility of someone asking their 12-year-old kid to choose.

A brief look through the past nominees and winners may lead one to wonder...

Anyway, the benefits:

your mother finally has something understandable to tell her friends about your career, you get to meet your musical heroes at the parties, and you think that maybe all the shit you put up with is worth it.

the detriments:

clients that may have called you in the past now consider you too "expensive", you have a huge hotel bill, you have a huge fancy party clothes bill (hey, you gotta look good when standing next to Carlos Santana), and if you lose... you wonder if all the shit you put up with is worth it.

Sam later wrote:

...but what about Bruce Mau? I've never been clear how exactly he got so renowned, before the sort-of sensation of SMXXL. It's not like any of those MIT Press books were bestsellers.

I don't know if you were near the New York art world in the late '80s, but the first "Zone" made quite an impression. For those of you who aren't familiar, "Zone" was a periodical anthology of theoretical essays on urbanism, technology, consciousness, perception, etc. Its editors and contributors were all the stars of contemporary theory and Bruce Mau's design was unabashedly sensual -- a fabulous combination.

From there, "Zone" began publishing books and CDs. One of those was a collection of Rem Koolhaus' lectures. See any connection?

Like I mentioned, "Zone" made quite an impression; and the art/architecture/criticism world is kind of insular. People know people know people... Just like any other career, Mr. Mau began working with more established people and built a reputation based on his affiliations with cultural institutions, architects and artists. From there, it's a small step to the design press and the "sort-of-sensation" of S M L XL.

Jason A. Tselentis wrote:

Don’t enter awards competitions? Really?! Really, Mr. Mau? Why does he already have so many awards himself? Yes, he has awards. He's won numerous awards including this: a 2003 IIDEX/NeoCon Canada Award for work in Textiles. He just won this! And what about competitions giving you more work? Like the "competition to design Downsview Park on the site of de-militarized grounds in Toronto." Is this okay?

IIDEX/NeoCon is Canada’s largest exposition/conference for the design and management of interiors. Like MacWorld but for office furniture.

I have won crazy awards for things like Best Die-cut. Rest assured I certainly didn't fill out THAT entry form. Like Marian said, "often clients will enter things into industry awards". This is more likely the case.

The Downsview Park project was an open architectural competition like what happened in lower Manhattan. Bruce Mau Design entered with Rem Koolhaus and was chosen over a short list of 4 other firms. Such competitions are a common way for a municipality to get a project designed in a transparent, seemingly democratic way.

Don't worry it's OK.

Back to the matter at hand:

I'm torn about the nature of design awards. I have had the exact same thoughts that many people here have expressed, and I swing violently between entering and boycotting.

Poor Gabriella Mirinsky at the AIGA has often fielded my suggestions on how to improve 365. I currently feel that some of the current categories are either illogical or detrimental to the AIGA's message. I begrudgingly accept the category of Brand and Identity Systems Design, but why Comprehensive Brand Strategies? Shouldn't that also include the Comprehensive Brand Experience? You know, stuff like making sure the barristas at Starbucks smile and have clean uniforms. That's certainly part of the brand relationship.

Or how about the categories of Typography and Illustration? Isn't this really more about method than effect? Once we go down that path how about categories of Coated and Uncoated? And where is Photography?

There is also the problem of this quote from the most recent book:

"365: AIGA Year In Design 23 is the authoritative chronicle of North American Design for the year 2001. Identified by thirteen specialized juries the selected work represents the best communications design across all disciplines." (my emphasis)

Hubris?

I've had the pleasure of being on a few juries ranging from the Empire Diner's Doggie Halloween Costume Contest to American Illustration. The one thing that really struck me about AI (besides the eye strain of looking at 6000+ pieces in a day) was how informed the jury was about most of the entrants' careers. We knew who was ripping off someone like a Brian Cronin, what pieces were recycled leftovers, and what work was missing from the judging.

Even with this collective brain power, some things got in that I didn't think should have and some wonderful things were left out. It made me realize that juried shows, by definition, represent a certain aesthetic homogenization. Combine that with the sheer numbers of entries, chemistry between jurors, what's in the air at a particular moment, how hot the room is, etc... it's a crap shoot.

Yes, it makes me crazy. Yes, I still enter.

hmm, my opinion of award annuals seems to be thawing a bit. I think there needs to be a balance between doing what's best for your client, and looking for other types of gratification when you've done a great job. By me never entering or winning anything, I've always thought if I had the choice between a client referral or an award, I'd take the referral. However my mind is changing - give me a couple years. Maybe you can have both.

I've always respected CA's and Critique's (2) annuals, though when I go through some of the others I feel a wee bit dirty afterwards. Darrel’s comment about google illustrates one of the major beefs I've had. Sometimes the best design is not recognized.

Before I had witnessed a design competition, I had always felt the show entrants should have a long rational for the project and explain all the design benefits. After witnessing a small competition (not a large international show) I've come to the conclusion that there is not even close to enough time for judges to go through every single rational and base the winners from that perspective. Usually the cream rises to the top and stuff that is a couple years old is recognized.

Awards should be educational not spectacular.

They should make better more (self) critical designers not stars.

That's what we are trying to do at Memefest, International festival of radical communication and i thik it's going pretty well.

So i would not say participating at award competition is bad, but would say be carefull where do you participate.

Thanks for your reply, MK. I remember the Zone sensation--I was in college and a lot more interested in theory and art criticism then than I am now. But it's still anomalous how Mau could become so widely known on the strength of his book design and cultural associations. Chip Kidd, I can understand--he designs bestsellers and he does the most public, visible part of a book. But to be well-connected in the insular (and microscopic) world of art and architecture and build a reputation on that, that's a special kind of talent.

It's interesting to compare Mau and Cahan--the former with renowned clients who doesn't enter annuals and the latter with unknown biotech/tech clients who enters all the annuals.

I used to be against award shows - at least for my own purposes. I hadn't ever entered any. (while hipocritically devouring all the annuals). But I've changed that stance. I will always know that my success will usually be driven ultimately by acheiving a strategic communication objective. But from a sense of self-fulfillment, I realized after a whle, what did I feel more reward from? Telling a friend or colleague that my work increased the sales or brand awareness of a particular product? Or having that friend or colleague see my work and think that it is incredible design? The second option. That doesn't directly mean I embraced awards for that reason, but it's a similar vein. In the type of design I do, will a sales chart get me a better commission, or will industry recognition? Industry recognition. Also, I wanted to work abroad at one point, and industry recognition (called 'significant achievement in the industry' for visa purposes) is one of the best ways.

Basically they serve a certain purpose and I can only speak personally, but I wouldn't feel completely satisfied if the only achievement I could point to in my work is increased marketing communication metrics.

And just to clarify, I don't see it as one taking precident over the other (strategic objectives over creative indulgence). It isn't a this-or-that thing for me. I always know that my design will only be successful if it is strategically sound. But, if I am not creatively proud of it (and for me it often involves some sort of recognition - if not from a friend or a colleague or the target audience - that isn't based on metrics.

sam wrote:

But it's still anomalous how Mau could become so widely known on the strength of his book design and cultural associations. Chip Kidd, I can understand--he designs bestsellers and he does the most public, visible part of a book. But to be well-connected in the insular (and microscopic) world of art and architecture and build a reputation on that, that's a special kind of talent.

Not more strange than Neville Brody's work for the Face, or Vaughn Oliver's 4AD covers, or David Carson's Beach Culture -- all niche markets.

Consider this: the design profession supports how many? Something like 8 American-based publications dedicated to graphic design. That's a big monster to feed! Given that, the myth of Bruce Mau -- or any other talented designer -- doesn't seem so far fetched any more.

...even without design awards.

I've never really won any design awards, but I just found out my thesis is being used as an introduction to a visual culture class.

That makes me really happy.

Kingsley: I begrudgingly accept the category of Brand and Identity Systems Design, but why Comprehensive Brand Strategies? Shouldn't that also include the Comprehensive Brand Experience?

Heh. I also queried Miransky on this hot topic pocket. Nice to know some else did as well. It serves bohemoths like Landor, then again Landor sends in the most entry fees- serving the AIGA. Its smirks of a back door deal scribed via the Nat'l board.

"Most awards shows are a sham" - Craig Frazier (I couldnt agree more)

"Nearly everyone likes to win awards. Awards create glamour and glamour creates income. But beware. Awards are judged in committee by consensus of what is known. In other words, what is in fashion. But originality can't be fashionable, because it hasnt as yet had the approval of the committee. Don't try to follow fashion. Be true to your subject and you will be far more likely to create something that is timeless. Thats where the true art lies." - from Paul Arden's Its not how good you are, but how good you want to be"

On a personal note, I won zero awards this year. And I entered more than a few.

Awards are good for the young and almost famous , but older, bigger talents like Cronin, Niemann, Spiegelman, Sienbold, Ware and Glaser (whom I respect most) dont bother entering. Its incredibly ironic that the most respected people in our profession dont enter shows!

Maybe if by not entering I'll win some self-respect. Yeah, I could use some of that.

a. Good or bad?

Good, as long as you don't depend on it for self-esteem.

b. Do you enter work for awards?

Sometimes.

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

SXSW Interactive Festival. It's still small enough to give someone a fighting chance, and the judging criteria cover more than just "Is it pretty?" And it's affordable.

d. Why so frickin’ expensive?

SXSW's only $10 or so for the early birds. CA is ridiculous -- I entered twice, didn't win, and swore never to enter again. I need my money more than they do.

e. Do they matter?

I think so, because in our society people are always swayed by other people's opinions. We depend on reviews of all sorts.

f. Do you play down the awards you’ve won?

No. I only enter awards competitions I'd be happy to win.

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

A few. One from SXSW for my journal, finalist for another one for my Cooper Black movie, a couple of inclusions in Print annuals for theater posters.

I've reported on the same major design competition for the last three years. Who wins depends completely on who is on the jury. Pieces that would have won one year would not even make it into the final round another year.

Do awards mean anything? Yes, but you don't know what. My advice is to enter contests carefully. See who is on the jury. If you like their work and respect their opinion--then enter. If you don't. Don't bother.

I don't think most awards are rigged. It's just too hard to manipulate people that overtly, even for a large organization. But just because they aren't rigged doesn't mean they are objective.

Just received my copy of the Print regional design annual.

In our region, 3 firms dominated nearly 70% of the work. I'm not suggesting that they're not deserving, on the contrary, the work is excellent. But it's interesting to note that the work from the 3 firms are very similar in style, attitude, and for the most part, client base. Then I noticed the other regions, and it was quite clear that there was a commonality to much of the work that was selected. So here' a perfect example of how jury bias can dominate a particular awards show.

I'm not whining about it -- just pointing out that that's just the way it works. Sometimes you get more balance, sometimes not. Take your chances.

a. Good or bad?

Good as long as you don’t use them to justify that something is well designed or not.

b. Do you enter work for awards?

yes, my company does. In the past when I had my own shop I did

but on a much smaller cost too much $$$.

c. Which awards do you deem worthy (AIGA, HOW, Print, CA, etc.)?

100 show is my favorite I like the format, and enjoy reading what the judges have to say.

d. Why so frickin’ expensive?

don’t want to sound cynical..because they can be, CASH!! But, I’m sure it’s not easy getting it all together.

e. Do they matter?

hummm..they do and don’t, mostly I love to see when a younger designer gets something it gets them excited. Professionally, I guess some people like to see that stuff on a resume...

f. Do you play down the awards you’ve won?

yes, I’m not a big bragger.

g. How many you got? (nothing wrong with a little tally, it’s OK, we won’t deem it bragging as it fits the discussion)

over 25? not sure never counted.

h. If you have ever juried one, what happens there that affects the outcome (for good or bad)?

I’d like to but I always find out to late, plus the word “judge” makes me nervous.