Speak UpA Former Division of UnderConsideration
The Archives, August 2002 – April 2009
advertise @ underconsideration
---Click here for full archive list or browse below
A Different Kind of Award

The main objection designers have against awards and annuals is that they are judged solely by designers and intended ultimately for designers — as vicious a cycle as any. What we end up with are collections of handsomely-looking work judged by its physical presence and, perhaps, by a quickly written explanation of what the project “is” (in quotes, as it is easy to write the explanation as we see fit, regardless of the original brief — but that may be another, more ethical, debate).

Last month I received in the mail a booklet with the winners of the 2003 Triad Awards. It sat at the bottom of the pile for a week or so, as the understated design looked like many of the mail designed by designers for designers that I get that constantly ends up in the recycling bin. Eventually I looked through it.

The Triad Awards are, as far as I have seen and heard and in my own personal opinion, the best way to judge a graphic design artifact. In this case, it is exclusive to Annual Reports, and if that wasn’t enough exclusivity (the good kind), it is for Annual Reports only from the Midwest. For the Triad Awards, as stated on the cover, the reports are evaluated on their visual presentation, as well as the clarity and depth of their written strategic and financial messages. So far it sounds like any other awards. The difference comes in who is evaluating it as such.

The Triad committee is composed of the AIGA (headed by Joseph Michael Essex), The Investment Analysts Society of Chicago and the National Investor Relations Institute. Every year, for the past thirteen, each organization is represented by selected professionals to act as judges. Of note (at least in this year’s Awards) is that of the 23 judges, only 4 are designers representing the AIGA.

Not only is the panel of judges design-light, the criteria for selection equally leans opposite of looks alone. Reports are judged on their message, approach, positioning, design, financial content and management message. Many awards and competitions like to claim they too judge based on this criteria but how can they genuinely do it when only designers are involved?

The winners are, surprisingly, still great-looking and include Annual Report-virtuosos like VSA Partners, SamataMason and Paragraphs Design. Absent in the winners are Annual Reports that rely on witty printing techniques, expensive custom photography or innovative uses of materials to wrap covers that would otherwise make it into a myriad of awards and annuals. Apparent in the winners is a sense of self-control by the design firms and priority placed on the message and content being put on paper. Not an easy task, although that is primarily our task.

Awards like these are what we must foster, support and pursue if we wish to finally establish graphic design — in one of its many guises — as a proven way of advancing, defining and interpreting communication for the benefit of commerce, culture, education and politics. More awards and annuals should look at this model and implement it to fit their objectives. A new breed of design — admitting that many designers appropriate work in one way or another from these publications — could surface if the work being clebrated is lauded by its effectiveness beyond design principles… if nothing else, it won’t let designers dismiss them as yet another beauty pageant.

Maintained through our ADV @ UnderConsideration Program
PUBLISHED ON Apr.15.2004 BY Armin
Levi’s comment is:

I have to agree with this article. So many annual reports seem like the designers took it as an excuse to show off. Some even border on being un-readible and the message is un-decipherable. But man, do they look good.

Good design effictively communicates with its audience.

I feel the same way about the majority of the design books out there. When I open the pages it just seems like design without an attempt at communication and frankly, it's annoying. Just help me understand what I need to understand don't overload me with all the kinky design you can fit on a page.

On Apr.15.2004 at 05:50 PM
Greg’s comment is:

Cool. Kind of a People's Choice instead of the Academy Awards.

On Apr.15.2004 at 06:08 PM
Feluxe Socksmell’s comment is:

On the subject of awards, last week I recieved an e mail from the AIGA asking to hurry- dont forget to send in those entries- the deadline had been extended. This was strnge. They never do that. I replied to the AIGA and asked if they had changed policy. No response

Now, mind you, all shows typically extend the deadline by a few weeks automatically. Not the AIGA. A few years ago I entered late and recieved a call asking that I pay an additional 25$ per entry for late fees. Of course, youve gotta be either rich or stupid to be that award savvy. When I quiried AIGA they came back with "it s professional thing. you wouldnt want your clients to be late, so you shouldnt be either" That was strange. The AIGA is my client?

But this time it was different. They sent me an extension e mail- so I figured hey, this time they are extending it so surely there mustnt be a penalty. Right?


They call again wanting 300 more dinero. And again I pass the buck.

I dont know why I enter. Its pathetic. But (and I say this every year) next year there will be no more entering awards shows.

No matter how good the result, theyre a sham. A dirty sham I tell ya.

On Apr.15.2004 at 10:56 PM
sheepstealer’s comment is:

First of all this is an age-old topic that should always be kept fresh in every designer's mind. Thank you for bringing it up.

I salute the triad committee. Because an annual report has so many stringent objectives, it clearly does need to be judged on all of the levels mentioned. But I completely disagree with the fact that all awards shows should be judged this way. I want my work judged by designers -- the best designers in the world. When I see a show judged by Kit Hinrichs, or Bill Cahan, or Michael Vanderbyl, I know that my work is going to be evaluated by people who know what design is. I have yet to see top-of-the-food-chain designers such as these gentlemen who don't understand that design has to meet its objectives.

If I were choosing a surgeon to replace my heart, I’d want one who was judged as the best by the leading surgeons in the world. Surgeons know surgery. Designers know design.

The fact that someone from “Corporate America” evaluates my design work as good really means very little to me. Don't get me wrong, if a non designer gave my project an award because it doubled his company's sales, or landed him juicy new client that had previously been out of his reach that would mean something to me. But that would be the results talking, not a non-designer's opinion.

My experience is that those who talk badly about awards are those who don't have any.

Of course there are no absolutes. I've had my share of frustration with entry fees, and hanging fees, etc. But overall I say design awards are good. Aside from cold hard numbers, they are the only legitimate way to evaluate the quality of your work.

On Apr.16.2004 at 12:03 AM
Bradley’s comment is:

My experience is that those who talk badly about awards are those who don't have any.

This is mostly true, but, I know a number of very talented individuals who haven't been awarded much at all. Odd how that can happen.

I think this sounds like a great collection of work, complete with good standards of judging and thus worth looking at--in any creative profession, I believe that its important to award and recognize high-quality pieces. Just so that there's a standard of some sort, somewhere, established out there.

While annual reports are often show-off central, there are plenty of other categories that are totally ridiculous too--any of those self-promo things are suspect, as are calls for entries to awards shows, invitations of any sort, etc. I'd rather see competitions that reward innovative and progressive thinking; sometimes the ad shows do this (i.e., MINI Cooper, or BMW films), but ad shows are usually stupider and more aimless than design shows. Of course, most of the legit ad shows these days won't dispense praise and trophies for tiny little virtually non-existent clients. You're actually expected to dance with someone who's got size 10 feet or so.

Because the value of design really isn't in the color palettes we use or typographic styles we employ, but rather the messages communicated and ideas exchanged through it, awards can either further this profession or damn it to hell. Too often there's an overt emphasis on the coolest looking shit, rather than on the stuff that looks pretty good but gets the fucking job done. I'm sorry, but what was the Mead Annual Report show was notorious for this. And frequently, so too was/is the AIGA 365. It amazed me that VSA's work for GE and IBM last year, which was incredibly smart stuff, didn't garner much attention at all. Both clients really liked what they got, yet many of the '02 annuals that were so revered in the industry were regarded as failed projects in other (more relevant) circles.

It's the self-importance of so many awards shows that drives me bonkers after awhile. They take themselves so goddamn seriously that it ceases to be FUN. Isn't that why we do this in the first place?


On Apr.16.2004 at 01:56 AM
Greg’s comment is:

The fact that someone from “Corporate America” evaluates my design work as good really means very little to me.

Designers design for everyone, or at least for their target audience, not for designers. Design for designers is different than design for everyday individuals, since with designers you can let your work stray from the norm a bit more.

"What looks good" isn't something only designers can decide, unlike the metaphor you brought up about surgeons. Pretty much there's a right way and a wrong way to do surgery. Not true with design. Designers live and die by what regular people think about their work. The awards real people give should mean as much or more as designer's awards.

On Apr.16.2004 at 08:23 AM
Darrel’s comment is:

Tangental to this, the AGIA MN is having their first 'case study' award show. It's this year's interactive show, but it will be judged (supposedly) more holistically than a screen shot. It will be a full case study competition.

Dubious at first, I'm warming up to the idea that this might work. Namely due to Jason Fried and Peter Merholz being the two judges (What! No graphic designers! Gasp!)

Of course, there is still some irony. The site for the show is weak with some confusing navigation loops:


But I'll withold judgment until the show results. ;o)

On Apr.16.2004 at 09:39 AM
Feluxe Socksmell’s comment is:

the problem with non-practicing designers doing the judging is that not only will no one enter, but it will immediately be stoned.

Here is me picking up a rock, and stoning.

On Apr.16.2004 at 09:51 AM
Armin’s comment is:

I should clarify, a completely non-designer judging panel is in fact pretty useless. A combination of non-designers and designers who know what design is could yield different, more interesting results. For example, what if HOW, for their "International" annual, brought in a cross-cultural expert that assesed the actual internationality of the work, instead of the sole criteria for being an "international" annual was that the piece came from another country? That simply makes it geographically international but how does it help in determining if the work can be accepted and would work in various parts around the world — that is far more important and interesting than seeing the hardly-a-dozen entries from outside the US.

> I know that my work is going to be evaluated by people who know what design is. I have yet to see top-of-the-food-chain designers such as these gentlemen who don't understand that design has to meet its objectives.

Of course, and I'm not implying they don't or that their opinion doesn't matter, but it's still an opinion from our closely-knit circle. I think it would be beneficial — not to mention, interesting — to have an economics expert, or a sociologist in a judging panel for CA, Step, or any other award show and see what type of reaction they would have with the work and the design judges and how that could change the results*. I think it would at least make for a more inquisitive and varied discourse behind closed doors during judging.

* For example, Debbie, when judging the AIGA 365 last year (for which she got a lot of shit from everybody here, including me) made a case for a Pepsi can that was quickly dismissed by the other judges… so, just imagine the possibilities.

Also, by bringing in "outsiders" they could carry their experience to the "outside" world… assuming that these are people who have the influence to write or say something somewhere.

Just some thoughts.

And yes, having your work awarded by great graphic designers is an honor, and quite a trip, no arguing there.

On Apr.16.2004 at 10:27 AM
Darrel’s comment is:

the problem with non-practicing designers doing the judging is that not only will no one enter, but it will immediately be stoned.

Jason and Peter *are* designers. They're not specifically *graphic* designers.

Felix, yea...you have a point. Bigger issue, methinks, that even those that will enter will pretty much only be graphic designers. But, we'll see ;o)

On Apr.16.2004 at 10:36 AM
Robert L. Peters’s comment is:

Most design award shows are indeed the equivalent of beauty pageants (and as a result tend to be as self-referential, shallow and demeaning as the bikini-strutting events that helped hold back the status of women). Typically, aesthetics tend to be given much more attention than intelligent problem solving, fitness for purpose, contextual relevance (on a societal level), contributions to broadening visual vocabulary, optimal resource stewardship or garnering ROI for clients.

Typically, designers have frail egos (we get that from our mother Art) and we do seem to have a need for peer recognition and for others to 'like our work.' This accounts for the plethora of design award schemes around the world. It also explains why younger designers in particular (in search of validation and peer affirmation) tend to flood these schemes with their submissions.

I have found that juried exhibitions of competent design work (versus competitions where awards are given out) are more valuable to the design community. Evaluating competence goes deeper than only judging looks (the scheme Armin has described is a good example of a more balanced initiative) and I have found that in the most effective exhibitions (my opinion), a clear problem/challenge statement appears with an explanation of the design approach and documentation of the effectiveness of the design solution. Egos are less easily inflated/bruised (if the hierarchical awards are dispensed with), standards are raised in an affirmative way, and the general public can be invited to see what is considered to be 'good design' and to learn why the work is considered as such.

If 'best of' cannot be avoided when staging an exhibit, a useful compromise is to allow each judge to make a personal 'Judge's Choice Award' which in the bigger picture can reflect the values/aesthetics of the design jury (informative to those who submitted work that is not included in the juried show) and this can be a more 'honest' selection (because of its admitted subjectivity) than trying to pit very dissimilar projects with widely varying parameters against each other in an unfair and arbitrary manner.

For anyone involved in planning design exhibitions, I would strongly recommend that you consider including a 'Green Citation' or special 'Eco-design recognition' for exemplary projects that take environmental impact and sustainability issues into account (e.g. use of recyclable materials and anticipating re-use, avoiding excessive ink coverage, innovative ways of 'doing less with more', etc.). This is also a good hook for local media (as it provides a story of interest to a broader audience than just the design community). It is also an effective way to help share best practice regarding sustainability, an issue most graphic designers are pathetically (Victor Papanek would have said criminally) ignorant of.

That's my two cents' worth (three in Canada).

On Apr.16.2004 at 11:00 AM
DesignMaven’s comment is:

Great examples Armin.

Felix, you've got all us fooled. You're Filthy Rich.

I read and was Bamboozled by the comments on your site. Emphatically stating No Competitions for three years.

Seriously, because I no longer do print. I only

enter American Corporate Identity.

There are Designers who've won a plethora of awards. No longer compete. Their clients or the Art Directors, Design Directors, or Creative Directors submit work with their name.

For Argument, Awards don't neccessarily guarantee financial security within the Design Community. Essentially it is Ego.

There are a plethora of Designers that don't win awards (enter competitions) that are Financially Secure.

It Depends on which award carry the most weight.

1. The Grammy for Packaging Design.

2. The AIGA and New York Art Directors Club.

3. The Cleo and One Show Awards.

4. CommArts

5. American Corporate Identity.

6. Graphis Annual, Graphis Corporate Identity.

I think pretty much after the aforementioned six. Awards are meaningless and redundant.

Not putting down How, and Step by Step.

Neither does Print Regional Design Annual carry the weight it did twenty years ago.

Although, not an award. Whom among us can afford to advertise in the Black Book.

Well, maybe Felix, Tan, M. Kinglsly, Graham, Sam, Debbie, and Gunnar Swanson.

I'm sure not in that Tax Bracket. $10.000 for a one page ad.

Don't think the Black Book is relevent anymore.

On Apr.16.2004 at 11:05 AM
Rick’s comment is:

I have to note something interesting in what Sheepstealer said (is that you, Mr Spiekermann?):

We complain and complain about clients, about how they don't know anything, how they don't "get" it, how they always want to make stupid changes at the last minute. Mea culpa - I've done it a lot, and I'll bet so has everyone else here.

But now that the clients have a say in handing out awards, it's great?

I do, in fact, think there is a place for this. Though I'd take the opinion of David Turner over some accountant if the competition was a DESIGN competition.


On Apr.16.2004 at 11:48 AM
Rick’s comment is:

Oh, just a footnote to my comment:

Has anyone else seen that commercial for the convertible where the client is going on and on, "What color is this? Legal will NEVER approve it. Did we read the same brief? Make the logo BIGGER!" and the designer crumples her into the conference table?

Great stuff.

On Apr.16.2004 at 11:52 AM
Feluxe Socksmell’s comment is:

Felix, you've got all us fooled. You're Filthy Rich.

I laughed heartily at that one. No one gets rich in our business, havent you figured that out?

I read and was Bamboozled by the comments on your site. - No Competitions for three years.

I know. I know. But to my credit, I only enter a few pieces so theres no big let down. So far, again, no awards this year. Hey, I'm sick me too. Cant blame em...

Back to the competitions... heres a hypothetical: it would be nice to have 3 separate juries - one of designers, one of clients and lastly the public. we'd show the work, then the rating by afformentioned categories. it would give us a full spectrum of opinion and validate everyone. then again, nothing is 100percent accurate.

On Apr.16.2004 at 12:16 PM
J. Lathrop’s comment is:

I am completely naive at this contest thing. I entered one for some dorky publication last year, first time, and "won". I kept hearing how prestigious this award was, how honored I should feel (from them). How the award was a real feather in my cap, so to say.

Then I got the mailing for including it in their "design annual'. For 200 some odd buck each I could be included. No way I could do that, and my employer wasn't going to foot the bill so I didn't get included.

When the annual came out, there was no mention of either of my "wins" because I didn't pay more.

Maybe I'm just being naive and this is the way it is everywhere, but I didn't realize "prestigious award" actually ment "prestigious if you give us more money, otherwise the only one who knows you won is you."

Is that how all award contests work? You only get recognized if you pay?

On Apr.16.2004 at 12:57 PM
Armin’s comment is:

> Though I'd take the opinion of David Turner over some accountant if the competition was a DESIGN competition.

Well, of course. Equally, I wouldn't want just some (used derogatorily here, I guess) designer judging my work. I would want the best… same would be with the accountant, you would bring in one of the best accountants — not that I would include accountants in my judging utopia.

On Apr.16.2004 at 02:02 PM
Sam’s comment is:

Well, maybe Felix, Tan, M. Kinglsly, Graham, Sam, Debbie, and Gunnar Swanson. $10.000 for a one page ad.

To clarify, I took out two ads in Black Book because my advertising budget is just that huge And that's not counting the air drop of 16-color 24-page pamphlets over midtown Manhattan. And the spot during the last half hour of The Apprentice. Just trying to keep up with the Kingsleys...

On Apr.16.2004 at 02:03 PM
Armin’s comment is:

J., "hanging" or "publication" fees are very common. Specially in the larger annuals and awards like AIGA 365, the TDC, the SPD. They use the money to cover the publication of the books and to mount their exhibitions — which in the case of the TDC, travels around the country. And they usually say in the small print that if selected as a winner you will have to pay for hanging fees. So you are entering at your own (financial) risk.

On Apr.16.2004 at 02:06 PM
DesignMaven ’s comment is:

J. Lathrop Armin is right. All competitions. The Designer enter at his/her own Risk.

One can't help but think. Name recognition

goes a-long way when entering the big league competitions. Such as the AIGA, ADC, CommArts,

and TDC. (others)

Thanks Armin. I forgot about the Type Directors Club. Should've been added to my list.

Example, Everybody's Favorite Female Designer. Paula Scher was

nominated last year for three or four Grammy Awards for Packaging Design in the Music Industry. She didn't win.

Who the HELL AMONG US. Doesn't want to win a Grammy for Packaging Design.

Just to be nominated for a Grammy is a Coup d' etat.

I would like to see the more older established award organizations be more inclusive. Perhaps, thats asking two much. Meaning, inclusion of younger representation.

Sam You bring tears to my EYES. The Black Book has always been relevent. Just can't afford it. The Rolls Royce of Design Promotion. Damn you and M. Kingsly!!!!!!

Felix What was that private comment to me about BIG MONEY.

I've never known an Identity Designer to Die Broke. Everyone I know is living above the Norm. To include you.

Alas, no Identity Designer/Consultant leaves San Francisco move to New York. Start an Identity Consultancy and is awarded the project of the Year. Something is going on.

See you in American Corporate Identity 2005.

Armin, Stop Bad Mouthing Me. I'll be arriving in Chicago Next week.

I told you I've got your back!!!!!!

On Apr.16.2004 at 03:01 PM
Armin’s comment is:

> Armin, Stop Bad Mouthing Me. I'll be arriving in Chicago Next week.

Huh? What did I say?

On Apr.16.2004 at 03:06 PM
Tan’s comment is:

>Well, maybe Felix, Tan, M. Kinglsly, Graham, Sam, Debbie, and Gunnar Swanson. $10.000 for a one page ad.

Hey, I had to ask someone to spot me 5 for lunch today. No mansion here.

At the last firm I worked at, we decided to stop entering Black Book's AR100 because the fees were so high that it was no longer a fair represention of firms that did good work -- but only firms that could afford the expense. They ruined a well-respected awards book.

Hey, no big loss -- printed ARs are dying anyway...


Back to the topic. I'm all for the idea of the Triad. The value of a well-qualified jury is everything.

But just one question -- where do you stop? Suppose there was an award for the design that made the most money for the client. That's valid, isn't it? So a crappy logo for a new Microsoft product could conceivably be the most successful logo winner. Client loved it, market people bought it, public accepted it -- designer justified it. See what I mean -- at what point does it become pointless?

Just asking.

On Apr.16.2004 at 03:30 PM
Armin’s comment is:

> Suppose there was an award for the design that made the most money for the client.

Sounds like a project from The Apprentice — but I'll oblige! If the sole criteria of such award is how much money a design raised the client, there is no point in making it a "design" competition. If economics is all that is being measured, then the design end of it will undoubtedly go to the highest-grossing client, not the most well-developed in its message, content and appearance. But I see what you are saying.

Obviously, it's all in the people, the criteria and the work entered. Just like anything else in life, this comes with many ifs.

On Apr.16.2004 at 04:01 PM
Darrel’s comment is:

That's valid, isn't it? So a crappy logo for a new Microsoft product could conceivably be the most successful logo winner. Client loved it, market people bought it, public accepted it

Well, then it's not really crappy then, is it?

Artistically it might be, from from a commercial design standpoint, it seemed to do the job.

I think what we're talking about is 'graphic design' merit vs. 'design merit overall'

Most competitions are 'graphic design' based. Ie, does it look nice. We could use a few more 'design merit overall' competitions in the context of business goals.

On Apr.16.2004 at 04:31 PM
M Kingsley’s comment is:

Design Maven -

Having been nominated for a Grammy�, I feel compelled to shatter your illusions about it. Yes, being nominated is a major thing. A package has to survive three preliminary rounds in (I think) three different cities where the juries are made up of music industry creative types. This is a case where it is truly an honor to be nominated.

After that, the five nominees are sent out to the general NARAS membership for voting. Stories of members asking their children to fill out the rap category are common, as are little factoids like Jimi Hendrix won his first Grammy� in 2000 for a long-form music video of the Band of Gypsys (not his finest moment). When up against a big name package for Miles Davis or Hank Williams, the more obscure package usually loses out.

There are glorious exceptions like two years ago, when the Best Box Set went to Susan Archie for a Charlie Patton package. But for the past few years, the Grammy� for Best Box set has usually gone to the Miles Davis series. Even though the same photos have been recycled again and again, the general populace knows or at least has heard of Miles and votes for the familiar. So in effect, it too is a popularity contest.

Only after going through the process, the parties, the photos, the slutty girls hanging out at the parties (hello!), you begin to realize that, like the Oscars, the National Academy of Recording Arts and Sciences' main function is to hand out Grammies�.

Now to the important question: does it get you more or better work? I think the jury's out on that. We saw our new jobs pile actually decline. Maybe it was the perception that we were too expensive. Most of the fellow nominees that we know didn't really see much of an increase either. The only exception that we know of is a certain Austrian.


re: award competitions in general

Television shows 'jump the shark'

Design magazines start up award shows

Like the phenomena in lifestyle magazines where random lists substitute for actual articles ('listicles'?), awards are an easy way to come up with a month's material -- and probably a nice fund raiser too.

I was saddened to see a question in Eye's recent reader survey: 'what do you think of an Eye awards show'. Oy vey, not you too.

On Apr.16.2004 at 04:46 PM
Rick’s comment is:

Well, Armin? Step up to the plate here. I shelled out cash for the Stop Being Sheep book... I would do it again for the SU design competition annual (and I'm sure you could get rich off the submission fees alone...)


I have the shirt, I'm waiting on the Word It book... quench my need to consume.

On Apr.16.2004 at 05:33 PM
DesignMaven’s comment is:

Mr. Kingsly, many thanks for sharing.

Is there not anything SACRED anymore???

Although, I was unaware you were nominated. I did

remember Paula Scher being nominated. When she did'nt win. Personally, I felt Machinations were involved. Can't remember who she was up-against.

If I remember correctly. It was an inhouse Design Department. Not an individual Design Luminaire of her caliber.

Mr. Kingsly, After reading your comments. I'm even more perplexed.

For another topic. Just Boggles the mind!!!

Armin, In Mafioso Terminology.


Is there anyone reading SU today; that would not have FIRED or STRANGLED OMAROSA last night???

Trumps show should be renamed. The Apprentice and The Mole.

On Apr.16.2004 at 05:47 PM
M Kingsley’s comment is:

Design Maven -

Like the series of Rolling Stone advertisements, there's Perception, and then there's Reality.

This pretty much applies to all forms of glory:

design awards, projects, reputations, hot babes, trendy restaurants, The Strokes, etc.

Eyes open, baby. Eyes open...

On Apr.16.2004 at 09:21 PM
Feluxe Socksmell’s comment is:

Felix What was that private comment to me about BIG MONEY.

whaat? Big? Who? I've never spoken of having BIG money. However, I'm always aware/hoping for the Future.

Back to my Pixies Bootleg

(thx to Mr Larsen)

On Apr.16.2004 at 10:57 PM
Feluxe Socksmell’s comment is:

See you in American Corporate Identity 2005.

MAven, youre killing me softly. Thats the weakest most embarrasing show in print. What ? You work at Hornall Anderson er sumpn? You baffle me. Get a haricut, punk.

One more ironic "show" note: One of my clients (IKEA) came to me via the AIGA 365. I entered our 'kill'ustrations in American Illustration. It was accepted into the "web" category (not book). Woopty fukn doo, right? Then they request a 60 dollar fee so i can be on their slow ass web site (that no one uses). So I ask my client "hey, you wanna be in this show?" He says hell no.

Repeat the cycle.

Bottom line: advertising

On Apr.16.2004 at 11:08 PM
Miss Tiffany’s comment is:

What if clients had to support your entry into the design competitions? Meaning they had to think that your work was successful? Would it then become less of a contest of beauty?


DesignMaven ... two words for Omarosa ... bitch and slap.

On Apr.17.2004 at 09:42 AM
Armin’s comment is:

Rick, one thing at a time. One thing at a time.

On Apr.18.2004 at 02:38 PM
DesignMaven’s comment is:


Just checking in today. Coudn't help but LAUGH.

Ahhh, the Psych Game. If Franco Columbo wasn't playing around with Arnold. He probably would have won the IBFF Mr. Olympia.

If George Foreman, hadn't been suckered into the ROPE-A-DOPE. He may have beaten Ali.

My point, I'm an OLD WOLF!!!

Crafty and Sinewy.

Been around the Block a Few Hundred Times. Seen Most of it. Done Most of it. Lived to tell about it.



On Apr.19.2004 at 10:37 PM
mazzei’s comment is:

Again with the awards? brutal. they are what they are.. us giving us awards. there are so many small companies doing brilliant stuff out there who cant afford to send pieces to these expensive competitions. why not spark topics about them instead of trying justify which award shows are “worthy” of your praise.

On Apr.20.2004 at 02:53 PM
O'Neal ink.’s comment is:

I agree with mazzei. I seldom if ever enter. I can't afford the entry fees. Hell, I can't afford a ticket to the movies! But never miss buying an Print Regional Annual or CA, etc. BUT...I just won the (no entry fee) Xerox "Strut Your Stuff" Print Contest. I entered simply because the award was a 20-inch Apple iMac worth $2200. A lot of clients these days set speed records running for the hills when they hear design fees of that range! (Anyone want to buy a brand new 20-inch Apple iMac?) Finally a competition that pays! Hopefully they won't bill me a "hanging fee" to post the winning samples on their site!

On Apr.23.2004 at 02:31 AM