Today is the day. It’s time to dazzle the judges, bedazzle the competition, and leave a trail of awesome in your wake. So, don your designer duds, polish those pixels, and make an entrance that’ll have everyone talking.

There’s still time to enter, and certainly time to finish up that entry that you’ve let sit there for a week. But, after today, you’ll miss your chance to participate in this year’s awards extravaganza. So, make today count and enter this year.

For decades upon decades—84 years, in fact—PRINT has been covering the world of design and creativity with equal parts passion and obsession. Before becoming one of PRINT’s owners and Editorial Director, I was a reader. I vividly recall coming across a massive issue in the 1980s: The PRINT Regional Design Annual, featuring the winners of PRINT’s first-ever graphic design competition.

It was a revelation of brilliant work, and the hundreds of projects featured inside were utterly inspiring as they showcased the true possibilities of innovation and the true power of design. Projects by famous designers coexisted alongside work by emerging creatives; it didn’t matter who you were because the best work won the day.

Over the years, I’m delighted to say that nothing has really changed—except now, thanks to the internet, anyone around the globe can see the winners of our awards for free, anytime they want, no subscription required, on printmag.com. Annual PRINT Awards winners brilliantly embody the creative heights that PRINT has long championed while building upon and advancing contemporary design in fresh, stimulating ways.

LEFT: 2023 First Place Data Visualization, Generative World Cup 2022, Zeh Fernandes & Marco Vincit Brazil; CENTER: 2022 First Place, Posters & Outdoor, Moj muž (My Husband), Mirko Ilic Corp., USA; RIGHT: 2021 First Place, Books Covers & Jackets, Impertinentes: 14 livros de Gustavo Piqueira, Casa Rex, Brazil

To state the obvious, any awards program is highly subjective. So, we bring in a large jury with varied backgrounds and expertise in everything from identities to type design to data visualization and all subjects beyond. This year, we also asked leaders to participate in our newest categories, including Brand Collaborations – Diego Guevara, Global Design Director of Nike; Artist, Author, and Designer Timothy Goodman; and Ali Slayton, Head of Design, LEGO Agency Americas. And, for our Packaging Category, we are honored to welcome Mike Bainbridge, EVP Strategy, Sterling Brands; Amy Brusselback, Principal, Design B&B; and Alex Kalman, Founder, What Studio? and Mmuseumm.

This Monday (March 11), our 2024 PRINT Awards entry period will come to an end, marking another year of celebrating extraordinary design. I hope you’ve had a chance to enter this year. If not, there are still a few days left to share your work with our esteemed jury and, hopefully, with your peers, colleagues, clients, and the vast design community around the world.

Long live design!

Our esteemed jury is poised and ready to dive into the array of entries flooding in for this year’s competition. With anticipation mounting, they can’t wait to delve into the innovative submissions spanning across our 26 incredible categories. But, they can’t shower you with the accolades you deserve unless you enter.

Need more motivation? Meet the luminaries guiding the judging process – industry leaders armed with expertise and insight. Your work awaits their discerning eye, so don’t hesitate to submit your masterpiece by our final deadline on March 11.

Got questions about the submission process? Reach out to us at awards@printmag.com and let’s make this year’s competition one for the books!

Consider the PRINT Awards extension this week as an opportunity to refine your masterpiece and make sure it’s nothing short of extraordinary. After you submit, you can still edit your entry up until the close of the competition.

So, don’t let this extra time slip away – seize the moment and submit your entry before the final deadline of Monday, March 11.

Get ready to witness the Monday crunch time miracle, where coffee becomes your holy water and keyboards your sacred tablets. We know you’ll navigate through the chaos with the grace of a ballet dancer and the strategic prowess of a chess grandmaster. So, grab your mouse like a knight wielding a sword, because—between now and next Monday—you’ll be turning deadlines into dust and designs into legends!

Let’s talk about fame. Picture yourself strutting down the street, and suddenly, people stop and whisper, “Isn’t that the design genius who won a 2024 PRINT Award?” Oh yes, fame awaits! In addition, you’ll receive a feature on PRINTmag.com, announcements to our global audience, and recognition at industry events this spring.

What about fortune? Winning a PRINT Award could lead to lucrative opportunities. Picture this scenario: You’re lounging on a beach somewhere tropical, sipping a piña colada, all because your award-winning design caught the eye of a big-shot client who just had to have your creative genius on their team. Cha-ching!

But wait, there’s more! How about the satisfaction of knowing you’ve outshone your competitors like a neon sign in a power outage? That warm, fuzzy feeling of validation that comes with knowing your design skills are top-notch and recognized by design gods (the PRINT Awards jury).

And don’t overlook bragging rights. You’ll be the envy of your designer pals, the talk of the town, the toast of the design community. You’ll be strutting around like a peacock with a diploma, except instead of feathers, you’ll have a trophy gleaming in your hand.

What is the last reason to enter the PRINT Awards? Because life’s too short for bland designs and missed opportunities. But you only have a little while to enter. The PRINT Awards deadline is March 4, just one week away!

If advertising doesn’t make the world go round, it at least makes us look, listen, and (maybe) change the way we think, behave, or buy. In the Advertising category of the PRINT Awards, our jury will evaluate design that helps sell or promote goods, services, entities, or messages. Your entries can represent a single entity or a campaign.

We’ve called upon a group of Advertising jurors who know their way around the subject, from leading visual design at one of the industry’s premier advertising agencies to turning a camera’s lens on some of society’s most compelling talents and stories and advising the world’s best-known brands while serving as a dedicated creative coach and organization builder.

Alisa Wolfson, EVP and Head of Design for Leo Burnett, Chicago, has spent her career fostering collaboration and creative excellence within the agency and the community, promoting design as the ideal vehicle for transforming products, services, processes, strategy, and culture. Through her leadership in Leo Burnett’s U.S. visual design practice (she created the agency’s Department of Design, bringing together a team of design thinkers and visual brand specialists), Alisa oversees brand development for high-profile brands, serving many of the agency’s culturally and socially conscious clients. Her work has been recognized with numerous awards and honors, including the inaugural D&AD White Pencil and Best in Show at The One Show Design. The mentor, lecturer, and mother has also been named “Woman to Watch” by Ad Age and been inducted into Chicago’s New City Design Hall of Fame.

Award-winning filmmaker and photographer Catalina Kulzcar has built a body of work imbued with courage, connection, and honesty. The Hungarian-Venezuelan artist is based in New York City, and her work often explores women’s roles in contemporary society, among other themes. Catalina’s work has been published in international publications, including The New York Times and C41, and her portrait subjects include well-known musicians, artists, social entrepreneurs, and many others. She has served as cinematographer for short films Lindsay, Lindsey, Lyndsay, Can Love Hate, and Garúa. Catalina’s documentary projects include Bola! and Daisy, which celebrated its world premiere at Hungary’s Zsigmond Vilmos Film Festival in October 2023 and has since appeared at several other film festivals.

appeared at several other film festivals.

CEO, CCO, and Chair are some titles Rob Schwartz has earned over his distinguished career. The latest is Performance Coach at TBWA, building on previously held leadership roles, including CEO of TBWA/Chiat/Day New York (where he oversaw a period of growth so remarkable it became the subject of a Harvard Business School case study) and CCO of TBWA/Chiat/Day Los Angeles. Rob’s client list includes blue-chip brands like Nissan, McDonald’s, Pepsi, and Visa, among many others. Equally impressive is his catalog of honors and awards. His highlights include Grand Effie’s, Cannes Lions, One Show pencils, being named “Leader of the Year” by ThinkLA, and recognition as one of Adweek’s “25 Voices to Follow in Social Media.” During the other hours, Rob spends time with his family and dog, serves on the boards of the 4As and City College of New York (BIC Program), and recently cofounded a program called Coaching for Creativity with the One Club.

In addition to the Advertising category, this illustrious team will also evaluate entries in Editorial and Photography. Last year’s PRINT Award winner in the Advertising category was Poster House and Zipeng Zhu for the dazzling suite of visual assets – including a wild posting poster campaign, social media, signage, stage banners, and merchandise – created to promote Poster House’s first block party in Flatiron Plaza. If you’ve got an excellent advertising design, it deserves its own promotion – submit it to the PRINT Awards.

It takes a particular sensitivity to see opportunities for collaboration where others see only individual excellence. But when a partnership hits just right, it’s magical. For the PRINT Awards Brand Collaborations category, we are looking for campaigns that join brands with other brands, artists, organizations, or influencers where partnerships add artistic value to a product, expand access to diverse audiences, push industry boundaries, or address social issues.

Our jury team for Brand Collaborations knows a little something about collaborative chemistry. These jurors have seen how creative combinations can flourish, from sneakers with star athlete partners to iconic building blocks to sold-out clothing collections.

Diego Guevara, Ali Slayton and Timothy Goodman are jurors for Branding and Brand Collaborations

If anyone is a step ahead of the collaborative curve, it’s Diego Guevara, Global Design Director for Nike. As Director of Advanced Concepts, Diego is tasked with envisioning the future of Nike and Sport, working with athletes and cross-functional teams to create products and shape creative strategy and brand vision. Before Nike, Diego worked as a creative director for agencies with clients including Sony, Johnson & Johnson, and Warner Music. He also served as a design professor at Miami Ad School. In addition to his passion for design, Diego is devoted to developing, celebrating, and promoting LatinX talent at Nike, serving as Co-Chair of Nike Latino & Friends Network and co-launching LatinX Design Crew. He furthered the programs’ reach by partnering with nonprofit organizations and, in 2022, joined the Board of IMPACT Immigration, an organization that provides pro-bono psychological evaluations to immigrants and refugees.

To Ali Slayton, Head of Design at LEGO Agency Americas, every color tells a story, and every creation is a testament to her unwavering commitment to visual storytelling. Ali’s affinity for creativity first developed in photography studios, where she explored color theory, darkroom printing, and the magic of photo composition. She honed her industrial and print design skills, helping consumer and luxury brands through in-house agencies, and in 2010, she joined the LEGO Group as a senior creative leader. Ali currently serves as the Head of Design at The LEGO Group Americas internal creative agency, giving her room to develop and implement outstanding design through layout, typography, and visual elements. She applies her wide-ranging experience to create captivating children’s content, visual identities, packaging, and brand campaigns with global reach. A “free spirit,” Ali finds inspiration in her two boys, music, culture, and art, and approaches every project as a unique journey.

As an artist, author, graphic designer, and public speaker, Timothy Goodman is used to working in crossover media. His collaborative efforts have included a global clothing collection with Uniqlo and a Nike basketball shoe with Kevin Durant, and his artwork has appeared on walls, packaging, clothes, magazine covers, and more (including a sanitation truck) representing brands like Apple, Nike, Google, Samsung, and Netflix. Timothy also shares his talents in partnership with nonprofit organizations and schools. He is also co-creator of social experiments like 40 Days of Dating, the viral blog and book (optioned by Netflix). Timothy teaches at NYC’s School of Visual Arts and speaks at creative conferences around the world, often covering topics like mental health, manhood, race, politics, heartbreak, and love. His graphic memoir I Always Think It’s Forever was published in 2023 by Simon & Schuster.

Do you have a brand collaboration that brings powerful creative forces together? Share it with us – and our incredible jurors – by submitting your entry to this year’s PRINT Awards.

The world’s most influential design is happening all around us – literally. Environmental design is incorporated into the built and natural environment, guiding, informing, and pleasing the eye. In the PRINT Awards Environmental Design category, we seek outstanding examples of wayfinding, interior design, architecture, and other place-based work.

Our jurors in this category bring a wealth of experience as authors, storytellers, illustrators, community builders, and brand illuminators. They know firsthand the power of environmental design to shape our experience in the world.

Terry Marks, Andy Otis and Alvin Oei are judging PRINT Awards categories Environmental Design, Posters, Self-Promotions, Outdoor/Billboards

Terry Marks, Principal of Tmarks Design, is devoted to building meaningful connections across visual, verbal, physical, and interpersonal realms. A skilled designer, author, speaker, illustrator, and community builder, Terry’s work has helped companies, from Microsoft Stores to DC Comics, and he has been celebrated with awards and recognition from across the industry. Terry is a Fellow of AIGA Seattle and served on the Executive Board of the AIGA National Board of Directors. Through his professional and community work, he continues to develop and share his abilities as a storyteller, builder, movie-maker, and believer “in the impending good.”

Andy Outis brings his creative talents to bear as the Principal and Creative Director of Shift 7 Studio, serving brands, non-profits, and individuals through branding, motion, environments, and storytelling. Andy hails from the San Francisco Bay Area but made his way to the East Coast, graduating from the MFA Designer as Entrepreneur program at the School of Visual Arts. Andy is now based in Brooklyn, NY, teaches at SVA and Pratt Institute, and has built a client list that includes AT&T, the Breakthrough Prize, Marc Jacobs Beauty, and HBO, among others. He previously served as New York Magazine’s creative director of brand marketing and events, leading a team that produced revenue-driving creative across brand marketing, events, and custom content for New York Magazine and its digital verticals including The Cut and Vulture.

Alvin Oei’s approach to design is infused with imagination. As a Senior Design Manager at Disney Parks, Experiences, and Products, Alvin creates retail experiences and concepts around the world for different licensee and brand partnerships. Alvin’s career led him from interior design (at Randall Babylon Architects in Los Angeles) to studying at ArtCenter’s Environmental Design program. He was an environmental designer with BRC Imagination Arts in Burbank, contributing to award-winning visitor attractions for brands including Coca-Cola, Google, and The Singleton. Working independently as a creative director, Alvin was hired by Shanghai brands, including HEYTEA and Sporspot, to integrate storytelling into their retail and sports venues. At Disney, Alvin was brought on board to help develop retail visions for Munchlings and the D100 celebration. Outside of work, Alvin runs CMD+Y, a 501(c)(3) non-profit focused on educational design projects for the local community.

Last year’s PRINT Award winner in Environmental Design was DLR for The North Kansas City Early Education Center, a wonderland of design created with the littlest learners in mind. Help us find our way to your excellent environmental design by submitting an entry to this year’s PRINT Awards.

By entering the PRINT Awards you’re not just vying for a shiny trophy and bragging rights (although those are pretty sweet). You’re also joining a community of fellow design aficionados, a tribe of visionaries who understand that greatness isn’t achieved by playing it safe but by daring to push the boundaries of what’s possible. And, what’s more? You’re still able to take advantage of the late entry deadline before the rate increases on February 13.

Our jurors in this area are among the most exciting movers in the field, building some of the world’s most recognizable brands, helping emerging design leaders strive for social impact, and above all, creating video and animation work that reaches hearts and expands perspective.

Designer and director Santiago Carrasquilla is the co-founder of Art Camp, a creative studio “devoted to crafting rich experiences in the form of video, animation, photography, and design.” Founded in 2016, Art Camp’s goal is to “reach hearts, feel deeper, see differently, hear in new ways.” Santiago has spent his career developing those skills, beginning with his time as a student at New York’s School of Visual Arts, where he learned to communicate complicated ideas in a clear way.

As the Strategy Director at globally renowned creative company BUCK, Surabhi Rathi combines analytical rigor with imagination to architect transformative brand and communication strategies for some of the world’s most progressive brands. BUCK is known for deeply resonant, visually striking work across branding, experience, motion, and design, and Surabhi has applied her own rich design background to help craft compelling brand solutions for companies including IBM, Google, Bloomberg, PayPal, Microsoft, and many others. Surabhi also serves as thesis advisor for the Masters of Branding program at New York City’s School of Visual Arts, where she finds inspiration in guiding the next generation of strategists and creative leaders.

Josh Silverman has spent three decades building successful relationships by connecting communities across entrepreneurship, education, and design. Currently, Josh serves as Chair of the Master of Interaction Design (MDes) program at California College of the Arts, an intensive one-year STEM-designated program with an emphasis on social impact. He’s also the Founder & CEO of PeopleWork, a recruiting, coaching, and workshop practice, and a Partner in Mandel Creative. In 1997, he founded Schwadesign, a lean, holocratic design business, where he led diverse teams whose work was recognized by The Wall Street Journal, Rebrand.com, The Boston Globe, and more. Josh’s clients have included startups (iRobot, Buildium, Trinity Pharma), educational institutions (MIT, Harvard Medical School, Brown University), global enterprise (UBS, Wells Fargo, Accenture), cities (Providence, RI and Bethesda, MD), non-profits (American Heart Association, Friends of Dana-Farber Cancer Institute), and many more.

Last year’s PRINT Award winner in the Motion Graphics & Video category was Sharon and Guy’s “Chicago Design Through the Decades,” an outdoor public projection that offered a “swift, exciting journey” through the last century of Chicago design based on the extensive collection of the Chicago Design Archive.

Do you have a motion graphic or video project that will animate our jurors? Submit it to the 2024 PRINT Awards.

Outstanding design makes us look. And keep looking. Creative visuals and compelling themes grab and hold our attention, whether on a book cover or that bus whizzing by. The PRINT Awards celebrate design that sticks with us long after the first impression. If you’ve created something eye-catching across one of our 26 categories, submit it today to take advantage of the lowest current entry rate.

But you can’t take home the honors without entering! Our regular registration rate ends Monday, January 22. And, while you can continue to update your entry until the final deadline in March, you can take advantage of our lowest current rate by submitting your entry by Monday.

The Collected Works, an independent design studio that crafts brands in motion, is a team of creative directors, designers, animators, and technologists with clients spanning music, art, technology, and culture. For the second year in a row, PRINT called on the TCW team to design the branding system and motion package for the PRINT Awards.

Since 1980, the PRINT Awards have represented a prestigious platform that celebrates exemplary graphic design from around the globe. In its 2024 iteration, the PRINT Awards encompass distinct categories, including additions such as packaging design and a suite of branding-focused categories. These awards recognize design excellence across diverse media, ranging from traditional print mediums to advanced motion and 3D categories.

As TCW initiates a project, they begin with information gathering, collecting fragments of inspiration and potential design entry points. This discovery phase involves thorough discussions with the client, familiarizing themselves with the product, and compiling design references related to typography, color, design systems, and overall visual directions. The objective is to identify as many design opportunities as possible, which they will later group into conceptual directions.

This year, Jessica Deseo, PRINT’s Creative Director, provided the TCW team with an inspirational aesthetic vision of luster, shine, and gloss and content ideas that focused on movement, technology, and flow. TCW’s resulting branding system and motion package embraces the future of design, the merging of tradition and technology, and showcases an expansive array of techniques and styles, reflecting the diversity of categories, entries, and winners.

Across the brand package, TCW aimed to create a suite of ever-moving environments and vignettes.

These renderings and animations were designed with flexibility in mind, to be used independently or assembled into static images for advertising and hero images for videos.

The PRINT Awards are open for entries! The regular registration deadline has been EXTENDED to Monday, January 22, so be sure to enter now for the best rate.

Also, check out TCW’s campaign to help celebrate the 50th anniversary of The North Face parka.

Your work jumps out from pages, covers, labels, and screens. Whether you’re a student beginning a design journey or a seasoned professional, the PRINT Awards provide a place to share your distinctive voice with a creative community that speaks your language. Winners will receive a trophy, a custom certificate, and be broadcast to our network of more than a million people on PRINTmag.com, PRINT’s social media channels, and weekly newsletter.

And, now, you have a bit more time to take advantage of the regular rate! Enter by January 22!

Our PRINT Awards 2024 jury stands ready to reward the highest examples of originality, innovation, longevity, and craft across categories as diverse as photography, packaging design, environmental and social impact. Whatever your skill, you’ve worked hard to perfect it, so submit your work for consideration in this year’s PRINT Awards before the regular rate deadline today.

The PRINT Awards is internationally recognized as an annual chronical of inspiration, design trends, and thought leadership. Why not submit your work to join the esteemed list of PRINT Award recipients that will be celebrated this year?

Great design looks easy, but we know it’s painstaking work. Whether your medium is print or digital, illustration or photography, it takes focus, talent, and creativity to achieve visual impact that’s unforgettable. Submitting that work to the 2024 PRINT Awards extends your reach to 34 judges who are subject matter experts across 26 categories. The regular registration rate ends Monday, January 15. So, enter before the rates increase. What are you waiting for?

Who better to judge our In-House entries than folks who have built their reputations and expertise as part of an in-house team? These three subject matter experts have led creative teams in organizations from entertainment to wellness to food and beverage. They have also parlayed that experience to build their own businesses and assist companies and brands in strengthening their creative capabilities.

Creative Leader Theresa Fitzgerald has crafted a career around applying her design perspective with purpose: engaging, educating, and entertaining children around the world. Theresa has built and led in-house brand creative teams at iconic media and entertainment brands like Sesame Workshop, Sesame Street, Nickelodeon, SpongeBob, Peanuts Worldwide, and Scholastic. As a creative leader, designer, and educator, Theresa leads from the heart and dedicates herself to fostering inclusive cultures that nurture creative excellence and unified brand vision. At Sesame Workshop, Theresa led design vision across print, digital, motion, and experience to improve impact for social good. She helped the Sesame Street franchise achieve 360-degree brand expression, from philanthropic development to educational kits, consumer and digital products, marketing campaigns, social channels, themed entertainment, and publishing.

A self-described self-awareness junkie and brand psychology-obsessed, multi-disciplined creative, Kelli Binnings has brought her zeal for brand, design, work culture, and leadership to research, speaking, and writing about those topics. Now the Chief Brand Strategist for Build Smart Brands, Kelli has spent 15 years weaving her design magic across the food and beverage, commodity trading, fitness and lifestyle, and skincare and beauty industries, working with clients and internal teams to create and implement brand strategies that shape a refined message and a visually strong brand. For Kelli, an authentic brand experience brings joy and meaning, and her work is rooted in the belief that every company can create a brand worth experiencing.

Archie Bell II has taken a spectacular path to his current role as Principal of weirdeaux. Growing up, Archie loved commercial jingles and the cartoon stylings of Gary Larson and found creative fuel in ‘magnificent stories’ with meaning. Starting as an art director on Madison Avenue, Archie spent the last decade and a half building best-in-culture content studios and leading teams at the cutting edge of digital video and audio. He served as Spotify Advertising’s Global head of Creative and built branded content studios One X Studios at Urban One and NBCUniversal’s Content Innovation Agency. In weirdeaux, Archie is building a brand consultancy and creative practice rooted in illuminating the purpose in stories, expressions, and ideas that seemingly go unnoticed – especially as it pertains to the veritable Black experience. It starts by collaborating with sense-makers who foster a deeper understanding of the human experience to impact the world positively. Why? Because life is odd.

Last year’s In-House winner was Pride Across the Multiverse by Wizards of the Coast (USA). This collection of magic trading cards celebrated the creativity and diverse experiences of the LGBTQIA2+ community. The drop also featured a digital zine with artist interviews, sketches, process notes, and short fiction. Sales raised $1.3 million for the Trevor Project, which supports suicide prevention and crisis intervention for LGBTQ youth.

Just because you created your masterpiece in-house doesn’t mean you have to keep it under one roof. Why not share it with the 2024 PRINT Awards?

In an era where sustainability is not just valued but essential, Monadnock leads the way. Their commitment to environmentally friendly practices is evident in every sheet, aligning with the ethos of designers who prioritize environmental responsibility in their creations. All Monadnock’s paper products are FSC-certified and manufactured under the strict guidelines of ISO 9001 Quality and 14001 Environmental Management Standards, ensuring the highest standards of sustainability and quality.

Have you produced work using Monadnock’s beautiful uncoated or coated text and cover papers for printing or their sustainable performance paper board for packaging? We want to see the results!

To submit your work for the Monadnock Award when entering the 2024 PRINT Awards, choose the appropriate Monadnock paper type from the dropdown menu on the entry page. This ensures your work will be considered for this special recognition, celebrating the best use of Monadnock paper and packaging in design.

The final deadline is fast approaching, and we can’t wait to see how you’ve turned Monadnock’s papers into a canvas for your creative visions. We invite you to submit your entries and join us in this celebration of design, paper, and sustainability.

There is a singular magic in the illustrative arts that doesn’t hit quite the same in other design forms. Maybe it’s the humanness of communication and language blending with the skill needed to execute a creative vision. To judge our entries in these categories, we recruited a group of esteemed jurors who have elevated this art form in their own careers.

Nubia Navarro brings color and flair to her work as an art director, designer, lettering artist, and typography lover. Based in Bogotá, Colombia (with her heart in Venezuela), the artist, also known as Nubikini, has spent the last decade using color, typography, custom lettering, and illustration to communicate emotion. Nubia is a 2023 TDC Ascender, and her work has been recognized by the Latin American Design Awards, the Type Directors Club, and Communication Arts, among others. Clients, including Adobe, Microsoft, Facebook, T-Mobile, Airbnb, Sprite, and many more, have relied on Nubia’s affinity for experimentation and diversity that distinguishes her work from the rest. As the head of Nubikini Studio, she considers her process a “Creation Playground,” injecting a spirit of fun into every project.

Designer, artist, and speaker Adam J. Kurtz (aka Adam JK) is no stranger to honesty. Through various media, including art, stationery, books, podcasts, and speaking engagements, Adam’s work draws upon frankness and humor (with a tinge of darkness) to explore the complex connections between emotion and creativity. Adam has published several books, including You Are Here (For Now), a collection of art and essays about finding one’s way through the unknown, Pick Me Up Journal: A Pep Talk for Now & Later, and Things Are What You Make of Them: Life Advice for Creatives. His books have sold over a million copies in twenty languages, and his work has also appeared in publications including NYLON, Adweek, Vice, and The New Yorker. Adam’s previous roles include studio designer for Barton F. Graf and social web artist for BuzzFeed.

Illustrator Jaume Osman Granda has garnered professional renown for his lettering, illustration, and animation prowess. Hailing from Vilanova i la geltrú, near Barcelona, Jaume has accomplished incredible feats of creativity by pairing his perfectly hand-drawn letters with playful illustrated elements. The resulting creations include distinctive figurative compositions, patterns, and animations brought to life with bold color palettes. Jaume’s distinguished list of clients includes Amazon, Fanta, Puma, Hulu, Hydroponic, Cruzcampo, Diario As, KH7, and Borge, among others.

Have you made lettering, type design, illustrations, or invitations that showcase the A-to-Z of your creative talents? If so, share it with our PRINT Awards judges!

This year’s jury includes extraordinary design leaders whose contributions have supported LGBTQ+ rights and HIV/AIDS care and prevention; they’ve challenged conventional practices in design to make institutions more inclusive and supportive of cultural communities; and they’ve worked in the world’s largest technology companies to create digital products that provide more equitable and effective experiences for users worldwide.

Artist and publisher Ryan Fitzgibbon started his career as a communication designer at IDEO in San Francisco, CA, and in 2012 founded Hello Mr. After moving to Tulsa, OK, Ryan was diagnosed with HIV, inspiring him to create In Our Blood, a platform to “detect, exercise, and replenish your inner activist.” He has dedicated his activism to protecting LGBTQ+ rights and expanding HIV/AIDS care and prevention in Oklahoma, as well as supporting the operations of the Black Wall Street Times. A 2021-23 awardee of the Tulsa Artist Fellowship, Ryan has authored a book scheduled for release in May 2024: A Great Gay Book: Stories of Growth, Belonging, and Other Queer Possibilities.

As the lead executive officer of Dori Tunstall, Inc., Elizabeth “Dori” Tunstall wears many hats. The design anthropologist, author, consultant, and coach has built a career around challenging conventional design paradigms that exclude and harm cultural communities. She authored the book Decolonizing Design: A Cultural Justice Guidebook and formerly served as Dean of Design at OCAD University (making her the first Black dean of a Faculty of Design at any institution). Dori established her eponymous firm to provide corporate education, coaching, and consulting to help companies and organizations decolonize and diversify their institutional processes.

As Adobe’s director of product and product equity, Timothy Bardlavens calls himself “chaotic good in its purest form.” Through his illustrious career, Timothy has applied his unique perspective as a Gay, Black man from the Carolinas to advocating for equity in technology and design. Working with companies like Microsoft, Meta (formerly Facebook), and Adobe, Timothy has helped introduce digital products that bring users a more effective and equitable experience. As a product executive, cultural strategist, diversity, equity, and justice expert, co-founder, writer, and international speaker and facilitator, Timothy has worked to build teams and dismantle systemic barriers to help reshape the landscape of technology and design.

The 2023 top honor in the Design for Social Impact category went to See Words: Anywhere, See Word Design/Learning by Learning Lab. A superior design achievement, this digital reading proficiency system and learning method and special font (SeeType) were created to support literacy across all ages and skill levels.

Have you done great work for social impact? These judges want to see it!

Since 1980, PRINT has celebrated design excellence. This year, we are tipping our hats at work in 24 exciting categories. We invite you to join the celebration, raise a toast to design, and enter the PRINT Awards with the best work you’ve produced this year.

We shouldn’t judge a book by its cover or a product by its box (container, label, etc.), but we can’t help ourselves! Standout packaging makes someone pick up your product, remember it, and buy it. Packaging is a thrilling canvas for unexpected, titillating, or beautifully executed classic takes on design.

To consider the entries in this year’s Product Packaging category (including paperboard, glass, plastic, metals, sustainable materials, fabric, and other materials), we are thrilled to have a superior lineup of judges who represent the best of their field, from the grocery aisle to the museum shelf.

Mike Bainbridge, EVP of Strategy for Sterling Brands, brings more than three decades of brand and packaging design consulting to the PRINT Awards. Mike’s impressive portfolio of consumer brand clients includes Nike, Tropicana, MTV, Campbell’s, CVS, Colgate, Wild Turkey, and Goldfish. He brings deep expertise in communication strategy, positioning, consumer research, and packaging design strategy to his work. Mike always advocates for a highly collaborative approach among strategists, designers, and clients to achieve the best design results for the brand.

Amy Brusselback’s wealth of creativity and corporate experience fuels her success as Principal of Design B&B. Hailing from a family of artists and craftsmen, Amy worked for two decades with Proctor & Gamble as the head of design for its beauty businesses. Her leadership experience runs from idea generation to in-store execution, and she has worked with teams as large as 100 members on nine global sites covering disciplines ranging from industrial to graphic to fashion design. Established brands like Pringles, Folgers, Olay, Venus, Old Spice, and Pantene have benefited from Amy’s expertise through fully identified restages, keeping them relevant for today’s consumers. Amy founded Design B&B to represent “the agency she always wished she could hire” and operates on the principle that design must be “both surprising and obvious.”

Artist, curator, designer, editor, journalist, and filmmaker – Alexander Kalman has amassed an awesome array of skills and experience throughout his multifaceted career. Alex owns What Studio?, an interdisciplinary design studio grounded in the principles of curiosity, humanism, humor, optimism, and originality. He is also the founder of MMuseumm, a compact exhibition space occupying a former freight elevator shaft in TriBeCa that explores big ideas through collections of small objects.s.

If you’d like to share your work with this esteemed group of professionals, now’s your chance! Enter the 2024 PRINT Awards’ Product Packaging Category.

When the design universe closes one door, it opens another. Our extended early bird rate ends tonight, December 11, but registration for the 2024 PRINT Awards continues! We welcome your best design work in 27 categories until our final deadline in March. But this is the day to enter if you’re after the best possible deal. Our early bird rate is only $185 to enter and ends at midnight PST.

Students will continue to benefit from the $85 fee until entries close, and there’s no fee to enter our Citizen Design category.

What are you waiting for? Register for the 2024 PRINT Awards today!

Are you considering submitting your lustrous design project to this year’s PRINT Awards? A peek at some of last year’s winners will encourage you to share your design with an eager global audience. We received outstanding submissions across our 24 award categories (and we’ve added three new ones this year, giving our design community even more ways to shine). It was hard to choose favorites, but our esteemed judges did the work of selecting the winners based on originality, innovation, longevity, and craft.

Here’s a sampling of the entries that came out on top last year. Might your work be on this list for 2024?

BEST OF SHOW went to DLR Group (USA) for the North Kansas City Early Education Center. This stunning project earned a perfect score from the jury and marked the first time in PRINT Awards history that the Best in Show honor went to an environmental design project. The North Kansas City Early Education Center—offering early childhood students, including those in the district’s special education program—is a welcoming space that meets the unique needs of young learners. The site, a former Hobby Lobby & Price Chopper, was transformed into seven learning communities reflecting nature elements like honeycombs and butterflies, with plenty of space for indoor and outdoor play and testing. In addition, DLR Group demonstrated commitment to an integrated design process by creating a storybook for students and teachers featuring the project’s environmental graphic elements.

The CITIZEN DESIGN AWARD went to Kreatives (Germany) for “All Vote No Play,” a new visual identity for a campaign to increase civic engagement among student-athletes. The movement began in June 2020 with a call from a collegiate basketball coach to use Election Day for voting, not playing. Other coaches soon joined the movement to encourage student-athletes to pursue civic engagement opportunities. The design by Kreatives responded to the client’s need for a non-partisan brand identity that would help their message stand out amidst other political initiatives and appeal to the college population and athletic communities. In true non-partisan spirit, the type doesn’t lean left or right (no italics), and the words “vote” and “play” share the space, moving back and forth in size and placement to represent their shared roles in the effort. Colors blend U.S. political parties’ traditional red and blue into neutral “Blurple” and “Reddish” shades. The visual identity has supported the continued growth of the campaign, which is gearing up to attract student-athletes toward civic engagement for the 2024 election cycle.

Top honors for BOOK COVERS/JACKETS went to Volume Inc.’s cover design for Dave Eggers’ novel The Every (USA). This compelling design (part of a multi-cover series) illustrates a vital theme of the book about the monopolistic merger of the world’s largest e-commerce site and search engine/social media company. The protagonist pursues resistance from within the organization, and the cover design employs a familiar icon – the mouse-click arrow shoppers use to select an online purchase or link – to depict the struggle.

Want more inspiration? Learn more about last year’s honorees here.

And be sure to enter the 2024 PRINT Awards. We extended our early bird rate to December 11!

We’re giving you additional time to gather your best work, fine-tune your entries, and take advantage of the competition’s best rate. But it won’t last. You can update your award entries until the contest ends, but act fast because the early bird rate will fly away on December 11.

The 2024 PRINT Awards celebrate design in all its forms. Our early bird rate ends today, so take this opportunity to showcase your talent, push the boundaries, and bring your design concepts to life. The world awaits what you’ve created, so don’t hold back!

The PRINT Awards feature new categories for 2024 and a team of exceptional jury members from around the world. If you’re excited to share your stellar work with the industry’s leading figures, such as Lynette Pope, Jennifer Kinon, Rob Schwartz, and Pum Lefebure, and extraordinary creatives, including Jaume Osman, Nubia Navarro, Shar Biggers, and Ade Chong, the PRINT Awards provide an opportunity to let your work shine.

To take advantage of the lowest competition rate, now is the time to enter! Our Early Bird rate is $185, but ends on December 4. Students will continue to benefit from a fee of $85 per entry until the competition closes. The Citizen Design category is free to enter. It is open to designers who have created print and online campaigns designed to address and protect the lives and rights of the LGBTQIA+ community.

So what are you waiting for? Register for the 2024 PRINT Awards today!

Brand Collaborations

Who doesn’t love a good collab? They’re seemingly everywhere, from fashion to health and wellness and beyond. Brand collaborations offer a powerful opportunity to unite the visual identities of two distinct entities in a way that reflects both – but stands alone. Collaborations can happen between two brands but also include a brand with an artist, organization, or influencer that amplifies a campaign’s voice, reach, and messaging. When executed well, the intersection can help both parties communicate new messages (including some that address social issues or push industry boundaries) and reach a broader, more diverse audience. And great design makes it more compelling.

Branding Campaigns

Today’s brand campaigns demand a multichannel, multimedia approach. To recognize all it takes to create a brand campaign that covers every angle, from print to environmental, packaging, UX and UI, and more, the PRINT Awards have created a category that encourages designers to share your full campaign creations, from logo to app design to merch.

Packaging Design

What makes a product jump off the shelf? Creative packaging design can take a product’s success from good to outstanding. Creativity comes in every shape, color, size, and material. We’re excited to add the packaging design category to this year’s awards to consider how successful packaging design can attract consumers, communicate the brand message, protect the product, and – with sustainable materials – protect the planet.

And, as designers advance their influence, they’re exploring new techniques, materials, and processes and embracing a luxurious bounty of styles – incorporating shine, color, and fluidity to create images that catch and keep the eye. Maybe it feels a little more grown-up or dressed up, but the exuberance we’re seeing across the design world is a welcome pick-me-up for the senses.

From every angle, the future of design looks lustrous, and we love it. Submit your design project to the 2024 PRINT Awards and share some that shine with the rest of us.

The brightest stars in the design industry have long worked alongside new voices and emerging talent to judge PRINT’s design competitions. And, whether a name you recognize or one new to your experience, the 2024 jury features artists, authors, educators, and innovators who’ve worked for leading brands, founded cutting-edge agencies, and pushed the boundaries of creativity in their field.

Jury members have worked for clients such as Google, Adobe, Hermés, Sesame Street, MTV, and more—independently and through leading agencies such as Leo Burnett, Interbrand, TBWA, and Sterling Brands. We’re also excited to have jury members from design-focused companies, including Nike, Disney, Autodesk, Lego, and Colgate-Palmolive. A dream jury, for sure.

In addition to their deep and varied experiences, these talented professionals have received numerous awards and recognition for their creative work from various organizations, including ADC, Cannes, The Type Directors Club, Dieline, The One Club, and, of course, the PRINT Awards.

With some new categories this year, we’re also super pumped to have a deep bench of branding and packaging experts on the jury to consider work in brand collaborations, brand identity systems, campaigns, and packaging design. Among the stellar lineup of experts are Pum Lefebure, Co-Founder and CCO of Design Army; Diego Guevara, Global Design Director at Nike; Andrew Miller, Chief Growth Officer at Interbrand; Amy Brusselback, Principal at Design B&B and Ali Slayton, Head of Design at Lego. And that’s just the tip of the iceberg!

This year’s Citizen Design category centers on LGBTQIA+ rights, and our judges in this category all share a commitment to inclusivity in their work and lives and are leaders in the community. We’re so happy to welcome Cecilia Righini, Founder of UK-based Studio Lutalica, a design agency focusing on projects for women and the queer community. Also part of this jury category is Clay Walsh, Head of Marketing, XR at Autodesk. Clay is passionate about using technology to solve real-world problems and strongly advocates diversity and inclusion in and out of the workplace. And, joining Cecilia and Clay, we’re excited to work with Jeff Souva, Deputy Director of Development at Lambda Legal, the LGBTQIA+ civil rights organization.

This small sample of judges is a taste of the luminaries considering award entries. We’re honored to have these fantastic individuals support the PRINT Awards this year. You can learn more about our jury and their fascinating stories at the 2024 PRINT Awards website.

Be sure to enter your work: the deadline for early bird submissions is December 4!

The PRINT Awards honor the broadest range of design work and embrace the lustrous future of design. Tradition and technology converge in the competition, marrying graphic design’s analog soul with its digital DNA. The PRINT Awards continue recognizing new mediums that accommodate graphic design’s evolution while celebrating its print heritage.

New categories this year

The 2024 PRINT Awards offer 26 categories for entries, ranging from Outdoor to In-House. For 2024, the Awards include several new categories. This year, designers can enter the new Packaging Design category with product packaging design in all mediums, including paperboard, glass, plastic, metals, sustainable materials, fabric and other materials. 2024 also includes expanded opportunities to enter work in branding, with new categories in Branding Identity Systems, full Brand Campaigns, and Brand Collaborations to reflect the diverse spectrum of designers’ client work. And, to further support young talent, the PRINT Awards will feature and celebrate the work of the next generation of design leaders by including a student level for most every category.

Citizen Design Award: Honoring & Protecting LGBTQIA+ Lives

Every year, PRINT includes a free-to-enter Citizen Design Award to highlight design work focused on one annually selected social issue. This year’s Citizen Design category is open to designers who have created print and online campaigns designed to address and protect the lives and rights of the LGBTQIA+ community. Around the world, countries maintain and add laws that criminalize homosexuality, limit classroom instruction on sexual orientation, restrict gender-affirming care, and even ban drag-themed events and performances. Amidst intensifying threats of violence against the community, individuals often face discrimination such as limited access to healthcare, difficulty in securing employment, and bullying or harassment in the workplace.

Lesbian, gay, bisexual, transgender, queer and intersex individuals face daily, and often life-threatening, challenges in their lives, communities, and careers. Design has a role to play in curating positive messaging, educating, and supporting individuals as they navigate their lives, and inspiring and encouraging social action, protest, and justice.

Steven Heller, Editor-At-Large, PRINT.

A global jury representing a wide range of disciplines will judge each entry on four key criteria: Craft, Longevity, Innovation and Originality. Winners will be featured on PRINTmag.com and receive custom trophies, printed certificates, and extensive social media promotion.

Entries open today, November 7, and close on March 4, 2024.

Early bird rate ends December 4!

The 2023 PRINT Awards celebrated outstanding design in every shape and form, from the delicate texture and exquisite form of print to digital design that married technical skill with precise craftsmanship.

Our stellar judges this year worked across a vast field of 24 categories, including advertising, book covers, concept work, illustration, and environmental design, as well as two new categories, Design for Social Impact and In-House Design. They ranked entries based on four key criteria:

• Originality. That elusive quality that sets the best work apart from the rest. Our judges recognized design that brought vision, brand, and concept to life in ways that were unlike anything they’d seen before.
• Innovation. One of the hardest parts of design is coming up with new ways to tell the story, whether by video, billboard, magazine cover, or some other medium. The innovation might be radical or nuanced, but offers a fresh take on communicating a message visually. Our judges were impressed this year with the elegance of messaging and commitment to inclusive storytelling in all mediums.
• Longevity. We all love a trend, but the best design strikes the balance of timely and timeless: the logo that feels of-the-moment today and tomorrow, an annual report that simultaneously captures a year in the life of an organization and its enduring spirit, and type that draws the eye every time you see it. Across newer categories like Outdoor and Billboards to longstanding categories of Branding and Identity Systems, the selected winners from this year are sure to stand the test of time and remain in our memories for years to come.
• Craft. Whether making beer and macrame potholders or digital and print design, superior craft sets the best apart from the rest. For the 2023 PRINT Awards, our judges rewarded the highest examples of technical proficiency across all categories. This year’s Award winners have honed their craft to the highest standards with inviting invitations, photography with exquisite lighting, and style that captured movement and moments.

After meticulously working through this year’s entries, our panel emerged with a final list of winners in each category as well as Best of Show, Agency of the Year, and Editors’ Choice. We hope you are as impressed and inspired by these amazing designs and designers as we all are here at PRINT!

BEST OF SHOW

DLR Group

North Kansas City Early Education Center

USA

The winner of our Best in Show represents the project ranked the highest of every single entry in the competition. This marks the first time in the history of the PRINT Awards that an environmental design project has won Best in Show—and with a perfect score from the jury, the honor goes to DLR Group for their North Kansas City Early Education Center.

As DLR Group explains, the project “responds to a unique group of early learners. Both the need to consolidate the district’s Early Childhood Special Education program in one place, coupled with growing early childhood offerings in general, led the district to pursue adaptive reuse of an existing Hobby Lobby & Price Chopper. Being such a large scale, the building is broken down into seven different learning communities designed around biophilic themes in nature, ranging from honeycombs to butterflies. Each community is meant to give learners a smaller cohort to interact and engage with, while also having access to the facility’s many amenities including multipurpose spaces with sensory experiences, expanded outdoor play, pull-out spaces for de-escalation and testing, as well as expansive discovery zones for additional indoor play. 

“Interior finishes and planning have been carefully considered to make sure all learners, both special needs and others, are afforded equitable learning experiences. As part of a completely integrated design process, DLR Group also created a storybook that was based on the environmental graphics from the project. The book was printed in hardcover and shared with teachers and parents so they could read the story to their children before the first day of school, so that on day one children are welcomed by their friends from the storybook to help ease anxiety.”

Ultimately, DJR and their team that worked on this project—Chris Cox, Adam Wells, Ian Kilpatrick and Stacy Davis—created a moving project, and one that has real-world impact. To us, it represents the true power of design to not only solve problems, but create better futures for us all.

AGENCY OF THE YEAR

Base Design

USA

The Agency of the Year category honors the highest-rated agency, studio or in-house brand in the entire competition, determined by the largest amount of total wins across all categories. With first-place victories in the Branding and Outdoor category for the Museum of Fine Arts Boston and the Interaction category for the Meatpacking district app, 2023’s Agency of the Year is Base Design.

Base Design is an international network of creative studios specializing in branding and communications. When it comes to how they approach their craft, they describe it this way: 

“Your brand is part of an evolving, complex culture. The role it plays depends on one thing: influence. That influence is hard-earned. It’s fought for. That is why we challenge leaders to crystalize the story of what their brands stand for and why that matters. This narrative is a brand’s lifeforce. One that earns influence today, and evolves as people make it their own.”

Base Design’s winning projects in this year’s PRINT Awards are a reflection of that approach, and we’re honored to award the studio and the team involved in these projects—Min Lew, Jeffrey Waldman, Inva Cota, Bryan Chu, Shirlin Kao, Yaniv Fridman, Mirek Nisenbaum, Tom Fethers and Ji Park—as Agency of the Year.

EDITORS’ CHOICE

Ferrofluid

Rozi Zhu

USA

This is the project that our internal team particularly loved out of all the entries in the competition. This year, the award goes to Ferrofluid Type, by Rozi Zhu. As Zhu details, “​​Ferrofluid is a liquid which becomes highly magnetized in the presence of a magnetic field. The Ferrofluid Type is designed and presented through a display interface, which is made up of Arduino boards, 5×5 electromagnet matrix, relays, a power supply and a glass container with ferrofluid; all the letters and motions are controlled through this installation using code and physical computation.”

In addition to looking incredible and the fascinating concept underpinning it, we ultimately selected this entry because it truly embodies the theme of celebrating design in all its forms.

CITIZEN DESIGN AWARD

First Place

All Vote No Play

Kreatives

Germany

All Vote No Play started as a call to action. In June 2020, former Georgia Tech Men’s Basketball Associate Head Coach Eric Reveno tweeted that Election Day should be a day OFF from playing and a day ON for voting. The tweet quickly went viral, inspiring over 1,100 coaches to pledge the same.

The National Collegiate Athletic Association (NCAA) Activism and Racial Survey results show that 75% of student-athletes seek civic engagement opportunities, but the resources and support for this needed to be improved. So the initiative worked with the NCAA and student-athlete leaders across the USA to unanimously pass legislation to make Election Day an annually dedicated day for civic engagement. The campaign has since become the leading provider of non-partisan civic programs, materials, and support for student-athletes, coaches, and athletic departments.

There are 500,000+ student-athletes and nearly 100,000 coaches and administrators on over 2,000 campuses nationwide. In order for their message to reach college athletes and their coaches, the client needed an engaging, completely non-partisan brand identity that elevated their story and stood out from other political initiatives.

The visual identity draws inspiration from college athletics, historic protest posters, and online GIF culture, creating politically engaged, urgent branding that immediately resonates with college-age audiences.

Much like the non-partisan nature of the movement, the type itself does not lean one way or another: we avoided using italics, so there is no left/right inclination. The type instead varies in weight and size to convey movement – and that civic change doesn’t happen without action.

This concept extends to the dynamic logo: the words “vote” and “play” constantly move back and forth in size and space, supporting the idea that sports and civic engagement need to share space to grow. Its dynamism also accounts for various applications on social media, websites, printed materials, and live webinar events.

The color palette developed from the classic red and blue of the American political parties into what we coined “Blurple” and “Reddish.” This establishes a neutral foundation while keeping the colors bold and exciting enough to impact a variety of digital touchpoints and online applications.

With a new look, amplified voice, and a vital purpose ahead, All Vote No Play held a virtual event in fall 2022 featuring Stephan Curry, Dr. Condoleezza Rice, and Coach Tara VanDerveer. Over 2000 participants from 17 states and 26 teams joined, making it one of history’s most significant civic tailgating events. The concept of connecting the influence of student athletes and civic engagement was at the core of the experience, with the new branding supporting this messaging. The campaign continues to build a foundation of engaged, informed student-athletes for the 2024 election cycle, envisioning a future where all coaches and athletic departments prioritize civic engagement.

Second Place

Claim Every Voice

Meaghan Dee

USA

While doing the Wordle one day, Meaghan Dee started thinking about all the small, silly things we spend our time doing many days. She thought that if someone has time to play a game on their phone every day, then they should be able to make the time to vote.

While not everyone has easy access to voting, those that have access don’t have an excuse for not making their voice heard.

She also reflected upon how voting is a way of using your voice, and unless everyone votes, not all voices are heard. Our goal should be to claim every voice that we can.

Third Place

Big Liars in July

Christopher Sperandio

USA

The Big Lie that the 2020 elections were rigged is a threat to democracy. Christopher started “Big Liars in July” as a drawing challenge on Instagram because he thought that artists could play a role in shaping public opinion about extremist, anti-democratic politicians running for office. The work challenged artists to come up with black and white designs that they would give away for free to anyone who wanted to print political yard signs or make stickers. Every day in July, a different politician was the subject of our drawings. Big Liar in July drawings were produced, uploaded to Instagram, and tagged with the hashtag #BigLiarsinJuly.

Christopher believes that partisanship is one thing, but election denial is another thing completely, which has now turned to political violence in the US. There is an epidemic of nascent fascism here, so everyone needs to stand up, speak out, and show the Big Liars that their deceit won’t work.

In his contribution to the #BigLiarsinJuly project, Christopher used humor and simple messages to help alert voters to Big Lie candidates running for office. By making the images black and white, it cut production costs of the resultant signs and stickers, making the project as affordable as possible.

ADVERTISING

First Place

Poster House Block Party 2022

Zipeng Zhu + Poster House

USA

On August 6, 2022, Poster House hosted its first Block Party in the Flatiron Plaza. It was a day of activities, tours, performances, giveaways, and more. Designer Zipeng Zhu and his practice Dazzle Studio collaborated with Poster House to create a suite of visual assets that included a wild posting poster campaign, social media outreach, signage and stage banners, and merchandise including T-shirts and pins. The design was intended to evoke community and all things New York, utilizing symbols and bright colors to attract attention to the public event. The resulting assets are a combination of Zhu’s individual style with Poster House branding.

Poster House is the first and only museum in the United States dedicated to the global history and art of posters, located in the heart of Chelsea in New York City. posterhouse.org

Second Place

Crafted & Cured Beer Packaging

Studio Malt

USA

Crafted & Cured is a beer and cheese shop that recently moved locations into a historic former Art Deco bank in Troy, Ohio. The building’s façade features stone relief carvings highlighting Midwest industry from the 20’s & 30’s, which inspired a series of characters for our to-go beer can labels. Their illustrations, metallic foil, and banknote motifs nod to the bank’s interior accents and building history.

Third Place

Snow’s BBQ Drone Show

*TraceElement

USA

4:30 a.m. – It’s pitch dark on a crisp Saturday morning in the small town of Lexington, Texas. Population: 1,231. There are hundreds of people lined up for blocks outside of Snow’s BBQ. There’s a quiet murmur of anticipation and the smell of pit smoke in the air. The night sky is as black as ink, except for those big, bright stars Texans are always bragging about. Each person in line has a different story – a family on a mission to eat at each of the Top 50 BBQ Joints in Texas this year, a couple who flew in from New York City to try this hailed spot, and locals who show up every week as religiously as they go to church on Sundays. But they all have one thing in common: they’re hoping to get a taste of pitmaster Tootsie Tomanetz’s legendary pork shoulder steak, brisket, spare ribs, chicken, or sausage.

Some of these folks have been in line since 7 p.m. the night before. Most brought coolers and tailgating chairs. Some brought blankets. The little ones are asleep on their mamas’ shoulders. See, Snow’s is only open on Saturday mornings, so these patrons are part of a pilgrimage. And it’s first come first served, so some will be walking away empty-handed come 9 a.m. But one thing was certain for everyone in the crowd on this particular morning: they were in for some entertainment in the sky, courtesy of Coca-Cola Southwest Beverages. Around 6:30 a.m., just before the break of dawn, 250 drones launched into the sky with a whir. They buzzed and danced and blinked in an eight-minute choreographed show, all to proclaim a most joyous message: Coca-Cola is now being served at Snow’s. It’s Coke and BBQ – the perfect pairing.

The crowd watched the spectacle in awe, erupting in cheers at various points in the show – whooping for Tootsie’s image as she ushered in the message that Snow’s BBQ Loves Coca-Cola. Spectators took, posted, and shared videos and photos across social media, helping to spread the word of this new, delicious partnership.

ANNUAL REPORTS

First Place

University of Virginia Library 2022 Annual Report

Watermark Design

USA

A majority of the stories in the 2022 UVA Library annual report center around the themes of hidden meaning, counternarratives, and looking deeper into history. The cover uses texture and manipulated typography to reflect how history is often distorted to tell certain narratives and is just now being reframed to reveal the truth of the past. These details are enhanced with blind embossing on the creases of the folds to give the reader a tactile experience when holding and opening the book.

These textures carry throughout the minimal, yet elegant design of the interior. Its white and dark grey palette allows the full-color imagery of each story to sing, and to contrast past years’ heavy use of color. The limited color also emphasizes the typographical choices of Franklin Gothic as the primary typeface, complemented with a mono-weight font for the captions and an italicized serif for quotes. The full-color photography links to its corresponding caption through a custom symbol system built off of simple shapes (circles, triangles, etc.), instead of traditional letters or numbers. This works not only as a caption system, but as subtle graphic elements that help break up the monotony of large bodies of text.

Second Place

New York Public Radio –Resilience in Action –Annual Report Fiscal Year 2022

Ahoy Studios

USA

New York Public Radio invited Ahoy Studios to refresh their look to bolden their impact and reach younger audiences, as well as underlying the importance and urgency to save local news outlets amidst rising levels of misinformation. The studio developed a new look and feel, enhancing NYPR’s design vocabulary in a bold, colorful, diverse, and very “upbeat New York” way. As a part of this revitalized look, Ahoy was tasked with designing NYPR’s Annual Report 2022. As New Yorkers ourselves, this year’s theme of “Resilience in Action” inspired them to visualize the unique character of our beloved city in many creative ways.

The design intertwines contextual line art with archetypal New York photography and iconic landmarks to showcase the prodigious and unique programming NYPR provides to New Yorkers from all walks of life. The photography captures authentic moments throughout the city that communicate a sense of community and identity that residents can enjoy through NYPR. The bold line art is cleverly used throughout the pages to “weave” together stories or formulate clear and compelling symbols that underline NYPR’s messaging.

Third Place

Land O’Lakes Annual Report

Human Design

USA

Land O’Lakes, Inc. is an American farmer-owned cooperative, made up of four business units: Purina Animal Nutrition (animal feed and supplements), Winfield United (agronomy), Land O’Lakes Dairy (dairy products), and Truterra (sustainability). As the enterprise approached their 100-year anniversary, they made it a corporate mission to ensure agriculture’s future by being Rooted in Tomorrow – placing farmers at the center of creating a better world for everyone. However, in order to reintroduce themselves in a meaningful way, they first needed to set the stage: with a fresh, relevant, and dynamic creative platform – starting with a foundational document to be distributed to ALL of their internal Co-Op stakeholders and constituents.

As the new creative AOR, Human Design was responsible for designing a 2021 Annual Report that was modern, stunning, authentic to the brand’s persona and culture, inspired pride and excitement, and impressed any external recipients of the Annual Report kits. Their job was essentially to bring this 100-year-old co-op of over 3,100 farmers, retailers, and partners back under one enterprise umbrella.

So while public perception of the brand was important, it was even more essential for internal constituents to fully understand the brand’s true identity, purpose, and contributions.

And when a business is responsible for feeding the nation, creating a plentiful food supply, strengthening rural America, and reducing carbon footprints in a changing climate, every internal employee and constituent should be able to take pride and recognition in their work.

BOOK COVERS / JACKETS

First Place

The Every

Volume Inc.

USA

When the world’s largest search engine/social media company (the Circle) merges with the planet’s dominant e-commerce site, it creates the richest and most dangerous—and, oddly enough, most beloved—monopoly ever known: the Every.”
 
This contribution to a sprawling multi-cover series for Dave Eggers’ new novel uses the mouse-click arrow icon everyone online uses to select an article or Amazon purchase to visualize both the “Every” of the title and the novel’s protagonist, who has “one goal in mind: to take down the company from within.”

Second Place

Gene Sharp

Selman

USA

In Gene Sharp: How to Start a Revolution, journalist, and filmmaker Ruaridh Arrow transposes his documentary portrait of Sharp into biography form. It tells the story of how Gene’s studies, strategies, and inspiration empowered a collective of people, and generations of modern revolutions in turn. The design and typography were inspired by ideas of collective action and revolution, and that one man with such a humble and low profile had such a quiet influence across the cultures of the world. Selman Team: John Paul Chirdon, Johnny Selman, Jordan Tran.

Third Place

Rational Simplicity: Rudolph de Harak, Graphic Designer

Poulin + Morris Inc.

USA

The design solution for this book cover conveys Rudolph de Harak’s commitment to the tenets of modernism, idealism, and pragmatism. While his work often reflected reductive, simplified visual elements, it was never devoid of inspiration, intimacy, and beauty. This cover visually represents the dual nature of his creative freedom and constraint that he pursued throughout  his career. The featured image is a detail from a magazine cover de Harak designed for “Perspectives USA,” No. 7 in 1954.

BOOKS / ENTIRE PACKAGE

First Place

60 Years of Department of Design

KID Design

Latvia

The Art Academy of Latvia marks 60 years of design education with a series of events as well as a publication. The aim was to emphasize the procedural nature of design— a way of working, thinking, and looking at the heritage and craftsmanship of the multi-layered department. Six authors looked at the development of the Academy’s design education, each reflecting on one of its decades, emphasizing the most important events both in the department and political developments in the country.

The design also references the process with a notebook of a different size for each decade, representing growth and continuous progress. Sketchpads collages, and the initial stages of the creative process serve as the inspiration for the anniversary identity, the form of the edition, and the graphic solution. These things form an archive of designer’s work, which serves as a powerful source of inspiration throughout one’s creative life.

Second Place

Process Music: songs, stories and studies of graphic culture

Ephemeral States

USA

Process Music: Songs, Stories, and Studies of Graphic Culture is a collection of writing about graphic design ranging from extended critical examinations of design figures and artifacts to short personal memoirs directly and indirectly addressing design’s influence on culture. The book’s design scheme seeks to embody and highlight methods of critical self-examination. It also means to represent the writer, who often takes an idiosyncratic and irreverent view of design, its conventions and conventioneers. This begins with the cover design which is itself an original essay (“Go Now”) that discusses a well-known sel-freferential design artifact—the Hipgnosis album cover design for XTC’s Go 2—and questions the role of cover designs (both albums and books). The standard book cover material (title and author, blurbs, author’s bio) is presented on forward flaps that can be folded back to read the text—and suggests gatefold LP covers. Features such as the scuffing patterns are understood through reading the cover text. The verso of the covers lists the book’s index, highlighting and foregrounding its unadorned inventory, inverting book layout norms. The meta concept is carried throughout the book, with chapter pages continuing the design and voice of the cover text. The book overall can be seen as all cover: entirely framing. Or with no cover: all inside story.

Third Place

TOC | The Other Collection | Spiekermann, Dulkinys, Schmitz

TOC Publishing GmbH

Germany

Even in the 21st Century, editing and publishing literature is rewarding and a privilege. Essential books deserve the best materials, design, and printing. This conviction lies at the heart of TOC: bringing together the best of contemporary literature with exceptional design and printing. 

These books are designed on desktops, using modern typographic tools, and printed on a legendary Heidelberger Cylinder Press from 1954. At TOC, they connect modern taste with the quality and artisanship of centuries-old book printing. By transferring the layouts onto polymer plates with a laser setter and improving print quality, step by step, on a Heidelberg Cylinder press, TOC combines the virtues of analog and digital processes. This results in the best of both worlds: refined digital typography and a smooth analog reading experience. This new style of printing makes a startling difference to the quality of a page, paying homage to the knowledge, craftsmanship, and beauty of historical printing.

The books are a limited run of 998 copies, numbered and signed by the authors. Linen hardcovers are blind-embossed with the author’s name, the title, and the TOC logo; endpapers change colors with each edition, as well as the custom-colored headband and reading ribbon. Sewn binding ensures that the book is easy to open. 

The jackets follow a theme of textile patterns and are printed on Gmund Cotton paper in three colors, celebrating rather than hiding the imperfections inherent in the manual process.

Typography is specified both from a conceptual and practical viewpoint. Reading literature must be effortless and pleasurable. Again, rather than reiterating the nostalgia, TOC books are set in contemporary typefaces designed for today’s book lovers. They work with outstanding bookbinders, paper manufacturers, and printers who understand and love their craft. The result is a remastered, luxurious, and sustainable edition.

BRANDING IDENTITIES AND SYSTEMS

First Place

London Public Library

Bruce Mau Design

Canada

Libraries are a critical part of communities, providing the social infrastructure that benefits new mothers, newcomers, seniors, young children, and everyone in between. The London Public Library’s role is no different, not just as a place for books and reading, but increasingly becoming the go-to destination for diverse community programming.

The Library’s goal was to create a visual identity that connects with their audiences on a more human-to-human level and to illuminate the often unacknowledged role of libraries in our communities. We essentially wanted to take the Library “beyond books.”

BMD created a flexible identity that celebrates this notion with a playful, engaging, dynamic logo. The two “L”s in the shortform (LPL) do double duty as a set of legs, carrying the “P” drawn as a speech bubble to emphasize dialogue and engagement. The “P” can change form, creating a variety of anthropomorphic characters that can represent the many aspects of the LPL in a light and lively way.

The system is easy to use and the Library can create more illustrations as they create new programming. These plug-and-play assets are perfect for an organization with a small marketing budget and a big ambition to welcome everyone.

Second Place

Sinéad O’Dwyer

Greenspace

United Kingdom

Sinéad O’Dwyer is a Dublin-born fashion designer and graduate of the Royal College of Art. She has been continuously working to change the representation of female-identifying bodies in fashion, creating wearable sculptures with silicone pieces cast directly from women’s bodies. O’Dwyer’s work is underpinned by themes of the body, celebration, collaboration, creativity, and inclusivity, aiming to change stereotypes and narratives around certain bodies. Through her collections, O’Dwyer creates a language of beauty and acceptance available to everyone regardless of their size. We were tasked to create a brand identity that expressed these qualities, summarized through the strategic thought of “For the love of every body.”

The Greenspace creative team were inspired by the ever-changing, “imperfect” nature of body form and the materials O’Dwyer works with regularly, such as silicone. They went on to collaborate with Swiss Typefaces on a flexible wordmark inspired by the appearance of bodies and how skin and fat “pinches” and “folds.” This wordmark led to the creation of a custom display typeface named “Every Body Suisse”: a customized version of Swiss Typefaces’ font Suisse Int’l Condensed. Each letter form in both the wordmark and typeface has an alternate “body form” character used to create distinctive typographic statements that feel at ease alongside O’Dwyer’s collections. Animation brought the typeface to life, referencing not only how bodies look, but also how they move. Greenspace combined the typographic approach with a series of graphic assets, motion styles, and print techniques that stood out in the often stark world of fashion. Color palettes were derived from recent collections, and the creative team celebrated O’Dwyer’s materials with layers of tactile print techniques.

The identity culminated in a thoughtful, sensitive, and forward-thinking brand that conveys the character of O’Dwyer and her work.

Third Place

Museum of Fine Arts Boston

Base Design

USA

BROCHURES AND CATALOGS

First Place

Campo Grafico 1933/1939

Univisual

Italy

Campo Grafico 1933/1939: the birth of graphic design’ at the ADI Design Museum, was on display from 25 March to 10 April 2022, curated by Gaetano Grizzanti for the Campo Grafico Association [www.campografico.org], and published by AIAP Editions.

On the eve of the 90th anniversary of ‘30s Italian journal Campo Grafico – Rivista di estetica e di tecnica grafica, all 66 cover issues were exhibited for the first time to mark the importance of a cultural work recognized around the world.

The “Campo Grafico” history features over 100 images with a limited edition catalog of 500 numbered copies with an illustrated poster of all 66 covers and the transcription (with English language translation by James Clough) of 12 original articles of the Journal.

This publication designed by Gaetano Grizzanti and Giancarlo Tosoni is explicitly inspired by the “campista” style, expressing all the facets of this multifaceted phenomenon.

“Campo Grafico” was born in Milan as a bet of free spirits, exploiting the historical chance formed in the first half of the ‘30s– between the rise of Nazism and the abyss of racial laws, under the influence of the great cultural and artistic avant-gardes of the 20th century.

Campo Grafico quickly became the fertile ground for the aesthetic trends and lines of thought that will give rise to the Italian Style in Typography and Visual Communication.

Second Place

ArtCenter Viewbook 2023-24

ArtCenter College of Design

USA

ArtCenter recently reimagined its Viewbook, the College’s biennial set of publications whose primary purpose is to recruit prospective students. The undergraduate and graduate volumes of the 2023–24 edition were designed with the understanding that students are now most likely to discover ArtCenter through either its website or its presence on social media. At the same time, supply chain issues and the rising costs of paper and printing pointed to the need for a more focused and intentional use of print. The answer was to do more with less, and to emphasize the things that print does best. Fluorescent inks, diecutting, and foil stamping were employed to create a memorable physical object, with a precision and attention to detail that suggests the quality of the art and design education a prospective student can expect to receive at the College. Images of impactful student work are the main emphasis, but the finished work is accompanied by a visual focus on works-in-progress and student experience, along with a warmer, more accessible approach to copywriting. QR codes direct prospective students to the College’s website, and the design clearly presents next steps for applying to the College.

Third Place

A beautiful mistake

Zetafonts

Italy

“A Beautiful Mistake” is the official catalog of OFFF Tel Aviv 2022, the Israeli edition of the well-known OFFF Barcelona creativity and design festival.

To represent the theme of the edition—“OFFF*UCK, let’s celebrate mistakes”—Zetafonts decided to transform its catalog into a real manifesto of graphic and typographic errors. These unexpectedly play with the readers and accompany the contributions of international artists and studios, such as Tina Touli, Burton Rast, Kiel M, Territory Studio, and many others.

The concept of the festival underlines how errors are an essential part of the creative process, so the catalog collects them as much as possible, from low resolution images and missing fonts to misaligned texts, bad overprints, lorem ipsum leftovers, and even an upside cover.

The project follows Erik Spiekermann’s lesson “Better done than perfect” and reminds us that it is only thanks to mistakes that we can push ourselves beyond canons that we (wrongly) believe untouchable.

CONCEPT

First Place

Amar

Studio MMBB

USA

While living in San Francisco, Mel Barat Bours encountered a fascinating writer that was experimenting with perfume as a means of self-care and was considering starting a business. The writer was incredibly well traveled and wanted to bring much of that experience to her creations. She knew what her company’s ethos would be, but needed a hand making it tangible. After pitching several ideas and working through some, the project came to an end.

Time moved forward, but this project still occupied space in the back of Mel’s mind. And, last spring it was resurrected. After digging through sketches to find an unchosen logo that she absolutely loved, she hit the ground running.

The name Amar means many things in different languages: forever, immortal, long-lived, moon, and to love. The ideas of alchemy, timelessness, and anointing were at the core of the perfumer’s practice. Mel wanted to create a visual system that incorporated both an icon and wordmark that conveyed these amorphous and quite magical ideas in a way that was both elegant and a little unexpected.

The icon is inspired by sacred geometry and a sense of wholeness. Alternating rows of droplet shapes mimic the ball terminals in Schick Toikka’s typeface Saol and bring to mind the center of a sunflower, or droplets of oil forming on the surface of still water. The palette is anchored in a deep emerald green – speaking to wet rocks, verdant forests, and mysterious skies. Marbled texture from the British Library adds additional motion and speaks to traditional alchemical crafts.

Barat Bours designed a two-tiered hollow disk-like vessel meant to impart the feeling of carrying a heavy river stone in one’s hand. It was important for the bottle to have both visual and physical weight. It comes in a telescoping box with a slightly metallic marbled lid with discrete branding to encourage reuse as a keepsake container at home.

Second Place

The Letterpress Quilt Project

BRED

USA

The Letterpress Quilt Project is a handmade, one-of-a-kind letterpress quilt designed, printed, and produced by Associate Professor Brenda McManus of Pace University and Professor Ned Drew of Rutgers University-Newark.

The Letterpress Quilt Project unfolded during the darkest days of the global pandemic during the search for comfort and familiarity during the fear and uncertainty of the time. Seeking solace in the focused, systematic, and labor-intensive nature of letterpress, BRED chose to experiment with printing on fabric that provided them with a creative source of relief and growth in a time of unimaginable stress.

The black, silver, and blue letterpressed 12” x 12” compositions were the product of a playful game of chance compositions utilizing our large woodblock type. 56 square pieces were printed on a white cotton fabric on two Universal III Vandercook presses. These squares were then arranged in eight rows of seven units, sewn together on an old Singer sewing machine in the studio. The border and back are made from a contrasting bright orange cotton flannel sheet, and the binding was outsourced and is the only commercially stitched component. Finally, it was hand-quilted with embroidery thread to echo some of the geometric patterns in the typographic compositions. These dynamic groupings of rectangles, circles, squares, and diagonals highlight the typographic forms’ innate structure.

The Letterpress Quilt Project not only serves as a source of comfort in a much-needed time but perhaps, more importantly, a visual reminder of our devotion to preserving the typographic objects we all love while expanding their possibilities for others to experience.

DATA VISUALIZATION AND INFORMATION DESIGN

First Place

GenCup – Generative World Cup 2022

Zeh Fernandes & Marco Vincit

Brazil

GenCup is a unique generative art project that combines elements of graphic design, football, and data to create a visually striking and emotional experience. The project leverages the randomness of the real world by transforming data generated by the 22 players on the field into visual elements.

This project brings a unique and innovative approach to capturing the memories of the World Cup, the largest sporting event in the world with a viewership of over 3 billion people. Utilizing real-time statistics from FIFA APIs, the team transformed various match elements such as ball possession, goals, number of passes, completion rate, attempts on target, fouls, corners, and game intensity into visually appealing shapes, colors, and symbols.

By using JavaScript and the Canvas API, they were able to compose dynamic posters and export them in JPG format. The final images were printed on fine-art Photo Rag 308g paper, offering a high-quality finish suitable for display.

The project offers a three-step experience for the spectator. First, the spectator is transported into a world of shapes and colors that embody the emotions of the match. Second, the spectator can compare the artworks side-by-side to gain a deeper understanding of the elements by connecting them to their memories of the event. Finally, the spectator can fully comprehend the artwork by breaking it down into its individual details.

In the cultural context, GenCup draws inspiration from the universal passion for football and the data-driven world we live in. By combining these elements, the project creates a unique, engaging experience for audiences of all backgrounds. The use of generative art also adds a contemporary twist to the traditional representation of sports, making it accessible to a wider audience and opening up new possibilities for creative expression. Additionally, the project’s emphasis on the use of real-world data highlights the importance of understanding and interpreting the world around us in new and innovative ways. GenCup offers a fresh perspective on the intersection of sports, design, and technology, making it a truly unique and culturally relevant project.

Second Place

Genetic Artifacts

Courtney Barr

USA

This ongoing series visualizes “DNA barcodes,” short snippets of DNA sequences scientists use to identify species, accessible in open-source scientific databases. This work utilizes a custom SVG color font, “DNA Strands,” to represent DNA sequences of extinct species.

The visualized data design comes in a small case below a magnifying lens to inspire a sense of preciousness and rarity in the “specimen.” While the heart of the piece is a digitally produced visualization of DNA, the exterior housing is a wooden box with laser cut forms and engraved typography. Working with wood and glass helps to “ground” the content in the real world.

Third Place

The New Happy

USA

The New Happy turns scientific research into simple, useful, and beautiful designs that help millions of people with their happiness and well-being. They seek to address one of the biggest problems in our world — unhappiness. 

There is a huge amount of academic research that has identified key insights and practices that improve well-being. Unfortunately, this information is inaccessible to the average person. Not only is most of it hidden away in academic journals, it’s not translated into actionable tools.

The New Happy’s team closes this gap by translating research into a brand new visual language, influenced by abstract impressionism and the Bauhaus movement, and shaped by an intuitive sense about the way that forms and colors represent emotions and actions. This visual language makes it possible to communicate the research and break down complex topics like purpose, relationships, responsibility, compassion, and grief, sparking insights that change beliefs and behavior. Through this new form of communication, the viewer is empowered and equipped to treat themselves and others with more compassion. 

One of The New Happy’s unique differentiators is the way that they involve their community of over 700,000 people in their design process. Every week, the team asks their community to share what they’re struggling with and the problems they need help with. Selecting several out of hundreds of responses, the team sources the relevant research, translates it into a core insight or tool, and then embarks upon the visual design process. Every piece is a direct response to a real person’s need. 

The New Happy’s work reaches over 4 million people every month through a daily newsletter, podcast, social channels, and online platform. Their work has been featured in publications such as PRINT, FastCompany, Design Milk, Grazia, Tatler, and CNBC, and is used by governments, companies, schools, and organizations all around the world.

DESIGN FOR SOCIAL IMPACT

First Place

See Words: Anywhere

See Word Design / Learning By Design Lab

Illiteracy affects all aspects of an individual’s life from childhood through adulthood. Those with low literacy skills are far more likely to live in poverty, face health problems, and become increasingly isolated. Research demonstrates a positive correlation between an individual’s ability to read and their overall success in life. See Words: Anywhere and its special font, SeeType, were developed to address this important social need. As a digital reading proficiency system and learning method, See Words Anywhere not only aids emerging readers young and old, but the dedicated teacher. Whether an adult learning to read or a third grader still trying to master reading, See Word Anywhere patiently tutors whenever and wherever.

Along with SeeType, which harnesses variable font technology, together they teach phonetics while in the context of reading. Additionally, the application supports struggling readers with other early reading skills like vocabulary, grammar, prefix/suffixes, and spelling.

The patented Seetype font also works with AR technology to help support struggling readers in physical spaces. Development of this instructional experience was guided by design principles, educational science, and research. Using a co-design methodology, the Learning by Design team collaborated with linguists, educators, and reading specialists. Working from a generated object word list, SeeType font glyphs cover all forty-four sounds of the English language. By cuing the reading learner to see and hear the letters’ sounds this association is reassured for future recall.

Second Place

All Vote No Play

Kreatives

Germany

Also the winner of the Citizen Design Award this year, All Vote No Play started as a call to action. In June 2020, Coach Eric Reveno, then Associate Head Coach for Georgia Tech Men’s Basketball, tweeted that Election Day should be a day OFF from playing and a day ON for voting. The tweet quickly went viral, inspiring over 1,100 coaches to pledge to do the same.

The National Collegiate Athletic Association (NCAA) Activism and Racial Survey results show that 75% of student-athletes seek civic engagement opportunities. Yet, the resources and support for this needed to be improved. So the initiative worked with the NCAA and student-athlete leaders across the USA to unanimously pass legislation to make Election Day a dedicated day for civic engagement annually. The campaign has since become the leading provider of non-partisan civic programs, materials, and support for student-athletes, coaches, and athletic departments.

Third Place

Hong Kong

Áron Borbély & Gergő Faragó, Compact Studio

Budapest

In 2019, a series of demonstrations that had never been seen and experienced before swept through the East Asian city-state Hong Kong, some of them were well-thought-out and organized, while others were drastic, spontaneous and violent. These events are followed throughout our artist’s book, in which the objective, brief presentation of the demonstrations and their events is contrasted with the subjective experiences of the three students, complemented by our own graphic solutions and language, thus creating a mixed, multidisciplinary work of art. Photos in the book made by Gábor Bácsfai capture the atmosphere of the events up close.

EDITORIAL

First Place

HUE, the Magazine of FIT, The Fashion Institute of Technology

Magazine Redesign

Alexander Isley Inc.

USA

The mandate: Make it big, bold, and fun to read, with each page a surprise. HUE isn’t on newsstands, so there was no need to have a large nameplate or cover lines. The covers of the redesigned magazine are somewhat enigmatic, hinting at what’s to come inside. In this case, the T-shirt introduces the issue’s lead feature, “What Is American Style?” 

The accompanying digital edition was created in association with the team’s colleagues at GoodFolk Agency.

Second Place

New York Times Best of 2022

Sunday Afternoon / Juan Carlos Pagan

USA

The New York Times Arts & Leisure cover – Best of 2022 celebrated the music, film, television, art, theater, dance, podcasts, and comedy that kept us going in 2022. The design is one long track of typography– overlapping, stretching, and connecting with a variety colors which inspired us through the entire year of 2022.

Third Place

Remembering Columbia

Texas Tech University

USA

Evermore shares the emotional stories of Texas Tech University’s best and brightest, from the bold pioneers who laid its foundation a century ago to those who now propel our national research institution into the future. This values-centric publication honors the alumni who have faithfully supported the university throughout its growth, the faculty and researchers conducting world-altering work, and the students who will carry on the legacy. The project endeavors to reinforce that quintessential Texas Tech ideal: From Here, It’s Possible. This magazine strives to bridge the successes of the past with the opportunities of the future, providing historical context to the issues of today while looking ahead and inspiring our readers to take action. Like the university it represents, Evermore weaves together a sense of community, possibility, and the grit of Fearless Champions.

In Issue 3, there was one major focus, a fact that was already well-known in the community, but is still sensitive in nature: that two members on the doomed final Columbia space shuttle mission 20 years ago had Texas Tech ties. Commander Rick Husband was a Texas Tech alumnus, and pilot Willie McCool was the son of two faculty members. But there were also other Red Raiders who played important roles in and around Columbia’s final flight –Issue 3, shared their full story.

The goal of this issue was to pay homage to the seven lives lost aboard Columbia and honor the bravery of the next of kin who continue to tell their stories 20 years later. As such, the Columbia spread packs a punch, and the story’s design takes readers on the same riveting and emotional journey as those who experienced it.

In Part 1, as Husband and McCool’s hopeful childhoods and trek to join the Columbia crew is shared, the color palette reflects the bright morning sky. In Part 2, as those on the ground learn of the shuttle’s destruction and begin to deal with the aftereffects, the colors become starker, like the harsh light of noon. In Part 3, as the search and recovery efforts begin, the colors shift into the gold and orange of late afternoon. In Part 4, a starry night frames the legacy and lessons of Columbia.

This transition through the story uses the familiar progression through the day as a framework to help readers know where they are. After all, the spread is a whopping 24 pages of often emotionally challenging material, and this framework clues readers that they’re near the end. With that end comes the payoff for the readers’ choice to invest their time and mental bandwidth. It reminds them that the same values on display through the characters in the story are the values they prize in themselves as Red Raiders, and through those values, we are all connected.

ENVIRONMENTAL DESIGN

First Place

North Kansas City Early Education Center

DLR Group

USA

DLR Group’s design of North Kansas City Schools Early Education Center responds to a unique group of early learners. The need to consolidate the district’s Early Childhood Special Education program with growing early childhood offerings in one place led the district to pursue adaptive reuse of an existing Hobby Lobby & Price Chopper. This large-scale operation breaks the building down into seven different learning communities designed around biophilic themes in nature, ranging from honeycomb to butterflies. Each community gives learners a smaller cohort for interaction and engagement as well as access to facility amenities, including multipurpose spaces with sensory experiences, expanded outdoor play, pull out spaces for de-escalation and testing, and expansive discovery zones for additional indoor play. The inclusion of teacher equanimity spaces is equally important, as it affords educators a space that is intended for adult interaction and collaboration.

The 112,000 SF facility houses approximately 900 early learners from ages 3-5, making it one of the largest early childhood facilities in the State of Missouri. Approximately 50% of that population are special needs learners moving from an existing facility that was underperforming. Interior finishes and planning have been carefully considered to make sure all learners are afforded equitable learning experiences. As part of a completely integrated design process, DLR Group created a storybook that was based on the environmental graphics from the project. One of the project architects, who is also a mother to young children, served as the author for the exercise. The book was printed as a hardcover and PDF and shared with each of the schools’ teachers to give parents so they could read the story to their children before the first day of school. The goal is that on day one, the children’s “friends” from the storybook will greet them and help ease the anxiety of their first day of school.

Second Place

Wish Fountain

SOSO

USA

Wish Fountain is an interactive experience that transforms visitors’ wishes into a colorful, water-like light show across a ripple-shaped wooden bench and wall-mounted screens. The installation is part of a series of unique digital artworks, created for newly renovated highrises in San Diego, that serves to build community, give visitors a canvas to impact the space, and reflect on local culture. 

Inspired by San Diego’s natural environment and ocean landscape, Wish Fountain depicts the ripples on the surface of water when a coin is dropped in a wishing well. With the appearance of an abstract landscape model of San Diego, the undulating surface of alternating plywood and resin recalls the area’s abundant natural waterways sandwiched in between hills. Beyond these natural elements, Wish Fountain incorporates digital portrayal of local fish species–such as mahi mahi, mackerel, and garibaldi–to create an effect like that of a koi pond which offers peacefulness and brings good luck in many cultures.

Visitors share their wishes via text message to a posted phone number, as an image or text, in response to a prompt displayed on the screens. Each wish is a secret between the sender and the fountain, resulting in a unique and captivating animation of colors across the bench and adjacent digital screens.

The AI engine powering Wish Fountain utilizes a natural language processor to decipher the mood and content of each visitor’s text. The installation then changes its colors, motion, and fish species to respond to the wish, resulting in reflective and distinctive animations of each visitor’s thoughts and feelings.

To keep the prompts timely, the building owner has access to a cloud-based content management system, allowing them to update the wish prompts to reflect current events, holidays, or relevant local themes.

The project teams are committed to adaptive reuse, and Wish Fountain is the perfect answer to creatively breathe new life into a familiar space. Digital installations such as Wish Fountain have an evergreen quality; by creating a unique experience for each user, they consistently provide dynamic value to their space.

Third Place

Chameleon Wall

SOSO

USA

Chameleon Wall is a nature-inspired interactive digital wall that translates text messages into unique, beautiful displays of colors and images. Regent Properties tasked SOSO to design a series of unique digital artworks for 701 B Street that builds community, gives visitors a canvas to impact the space, and reflects on local San Diego culture.

Just as chameleons change their skin color to mimic their environment or express their mood, Chameleon Wall expresses the moods of its visitors via SMS. To achieve this color shifting ability, Chameleon Wall looks deeper into the physical mechanism of chameleons’ skin and uses that as the basis for its optical design.

On a nano scale, chameleons alter the structure of photonic crystals within their skin to change how light is refracted and reflected, resulting in different colors. These photonic crystals are hexagonally packed, giving the shape to each Chameleon Wall module while the spiky texture of chameleons’ outer skin layer inspired the form of the outermost lens. In total, Chameleon Wall uses 4 optical layers–just like real chameleon skin–to transform this natural wonder into a mesmerizing artwork.

When a visitor texts the Chameleon Wall, a cloud server analyzes the message, and the reflective crystals take on the colors and patterns of the image in breath-like strokes. If someone sends a picture, the Wall extracts the dominant colors and creates organic designs made of those colors. If they send text, a custom algorithm transforms those words and phrases into their quintessential colors, turning them into animations. The wall displays a sequence of curated images when no one is interacting with it.

The server utilizes natural language processing to decipher the mood of each visitor’s text, and the installation changes its display accordingly, resulting in a reflective and distinctive display of each visitor’s thoughts and feelings. No two displays on Chameleon Wall are the same. Chameleon Wall draws upon a vast search algorithm to generate an infinite number of color palettes and images to display based on each text. Even the same text can create different displays, making each experience memorable.

The project teams are committed to adaptive reuse, and Chameleon Wall is the perfect answer to adaptively breathe new life into a familiar space. Digital installations such as Chameleon Wall have an evergreen quality; by creating a unique experience for each user, they consistently provide dynamic value to their space.

Chameleon Wall connects people, builds community, and reflects San Diego’s pulse. It provides onlookers with a blank canvas and the ability to impact their environment, along with a sense of respite. The project teams’ commitment to creating unique, fun, and dynamic environments was the perfect catalyst for these immersive experiences.

HANDLETTERING AND TYPE DESIGN

First Place

Ferrofluid Type

Rozi Zhu

USA

Ferrofluid is a liquid which becomes highly magnetized in the presence of a magnetic field. The Ferrofluid Type is designed and presented through a display interface, which is made up of Arduino boards, 5×5 electromagnet matrix, relays, a power supply, and a glass container with ferrofluid. All the letters and motions are controlled through this installation using code and physical computation.

Second Place

DNA Strands Typeface

Courtney Barr

USA

DNA Strands is a custom color SVG font developed to provide users with a method of translating genetic sequences into visually compelling symbols that represent the DNA nucleobases: A (Adenine), C (Cytosine), T (Thymine), and G (Guanine). Each glyph of the typeface represents a genetic base pair, such as AT, TA, CG, and GC. Color is used to differentiate the nucleobases within each glyph.

This font can be utilized to create custom visual representations of DNA sequences. The type specimen poster explains how to use the font and demonstrates its application in translating genetic sequences of extinct mammals.

Third Place

Bakemono

Zetafonts

Italy

Bakemono is a typeface family by Zetafonts that explores the shifting design space of fixed vs. proportional width, mixing the lessons of mechanical typewriter technology with the intuitions of Eastern brush calligraphy.

The design of Bakemono started as a way to explore the concept of monowidth type design – the idea of keeping the widths of each glyph constant in all the weights of a type family. This idea can add flexibility and ease of use also to proportional type, allowing you to change the weight of a word without changing the position of the other words in the same text block.

This is why the typeface name comes from the Japanese word Bakemono, which refers to a special shapeshifting category of Yōkai (preternatural creatures of Japanese folklore). In fact, the term means “a thing that changes,” referring to a state of transformation which perfectly fits the metamorphic nature of the Bakemono type family. It includes three different variants: monospaced (mono), proportional (text), intermediate (stereo) with a variable version.

This variable space allows you not only to switch between monospaced and proportional version, but also to fine tune choices of proportions in between with a “stereo” intermediate spacing. This makes room for both the clumsy, eye-catching deformations of traditional typewriter font and the more readable and dynamic proportions of a text typeface.

The strict, functional skeleton of Bakemono proportions gives this calligraphy-inspired framework an array of display possibilities. Moreover:

• Stroke endings are tapered to mimic the flow of brush calligraphy.
• Brush and hand movement dictate the presence of in-strokes and curved wide motions.
• Signature shapes with an eastern flavor are used in signature glyphs with low text frequency.
• All the weights maintain a medium contrast that is especially noticeable in the thinner, monolinear cuts.

Bakemono reflects its multicultural nature with its extended Latin + Cyrillic charset, which we will soon expand with Bakemono Arabic (exploring the fascinating world of monospaced Arabic script) and Bakemono Kana (our first experiment in CJK scripts).

ILLUSTRATION

First Place

Gdansk Library Lockers

TOFU Studio

Poland

Gdansk’s Voivodeship and Municipal Public Library (WiMBP) is an open, accessible cultural institution that provides a wide range of literature and information and is a leader in the promotion and dissemination of book culture in Poland’s Pomeranian region. For WiMBP, we have prepared a set of designs and illustrations for new free library lockers. All illustrations use a unique creative form to honor a specific city district.

Second Place

Arcadia Science

Play

USA

Arcadia Science is a research and development company leveraging the biology of non-traditional organisms such as ticks, poisonous frogs, and algae. Their mission is to push the boundaries of open science and innovate at every step in the research, development, and commercialization process.

Their new identity grounds their experimental vision through complementary neutral and vibrant color palettes, sketchbook inspired layouts, clear typography, and a mix of highly technical and abstract illustrations.

A variety of illustration styles are used across the design system, though all are inspired by the look and feel of the observational sketchbook. They range from highly technical drawings found in scientific textbooks to looser, more abstract approaches. Each is united through the use of a shared color palette. Bright shades with a mix of neutrals, pastels and neons breathe life into every illustration.

The website layout was also inspired by the look and flow of observational sketchbooks, wherein sketches are horizontally paired with full-bleed illustrations, and large organized type. Ample use of white space and color blocks give the layout a free flowing rhythm allowing balance to elegantly coexist with asymmetry. The About pages are modularized for simplicity in the build while at the same time giving each section an individual feel.

Third Place

Oedipus Rex

San Francisco Symphony

USA

With illustration by Shout and Creative Direction and Design by Larry Williams, the power of this illustration is that it says so much with so little. The final concept for the San Francisco Symphony’s semi-staged production of ‘Oedipus Rex’ uses the symbol of the crown to highlight the ultimately tragic events of the hero’s story.

On the surface level, that would have been more than enough. Shout took it further and incorporated a unique set design into the character’s uniform. He used Oedipus’ custom throne from the production and turned it into a very ‘Gucci’-esque pattern. The performer in the title role serves as the basis for the figure.

The illustration works because if you know the overall story, you get all the symbology immediately. The striking image also caused patrons unfamiliar with Oedipus to take notice. Sales increased more than 27% once the campaign shifted gears and moved toward the illustration.

IN-HOUSE

First Place

Pride Across the Multiverse

Wizards of the Coast

USA

Pride Across the Multiverse is a celebration of the LGBTQIA2+ community’s relentless creativity. The Magic trading cards in this drop draw from many diverse experiences, and Wizards of the Coast hope that people find some part of their own unique selves reflected in these cards. The drop also includes a digital zine incorporating interviews with the artists, sketches, short fiction and additional insights into the process of creating it. Sales from Pride Across the Multiverse raised $1.3 million for the Trevor Project, the world’s largest suicide prevention and crisis intervention organization for LGBTQ young people.

Second Place

Visual Branding for “Aizen,” a Kerning Cultures Podcast Mini-Series

Kerning Cultures Network

USA

“Aizen” is a podcast miniseries that aired on the Kerning Cultures podcast, following a firsthand, intimate account of a football-obsessed teenager traveling on his own across ten countries, four detention centers, and three refugee camps. “Aizen” carries listeners along an arduous two-year odyssey through snowy mountain passages, austere refugee centers, and the sinuous smuggler networks.

KC Network’s in-house marketing team worked with the production team to design a visual identity for this miniseries with two goals in mind: raising awareness and creating an emotional connection between listeners and Aizen’s refugee experience – a topic that we’ve grown desensitized to seeing in media.

We focused on what made Aizen’s story different and established that as a focal point that would engage listeners.

The identity showcases a range of emotions from Aizen’s perspective: the sad moments and the relief in between. The stylized outlines visualize different obstacles Aizen faces, with every short-lived sense of relief he feels until he faces his next obstacle.

High visual contrast was used to communicate the whiplash between sadness and relief, both from Aizen’s perspective as well as listeners as they hear his story. A mix of rich black and light yellow creates the perfect blend to represent all the emotions Aizen felt in his journey.

The title uses Degular, a grotesque sans serif that perfectly visualizes Aizen’s difficulties with its blocky shapes and sharp ink traps.

Each episode’s artwork follows Aizen’s journey from Afghanistan to Iran and Turkey, to Bulgaria and Serbia, and finally to the Czech Republic, France, and the UK.

Third Place

The Bruce Power Visitors’ Center

Bruce Power

Canada

Bruce Power is a nuclear power company in Tiverton, Ontario. The Bruce Power Visitors’ Centre, which is located on a hill overlooking the power plants, sees a diverse audience of over 20,000 visitors per year – primarily families and children – who come to learn about one of the world’s largest nuclear power facilities and how it provides Ontario with clean, reliable and affordable energy. Taking advantage of its closure, due to the pandemic, a new exhibit masterplan for the centre was developed by the Creative Strategy team – a first step in its revitalization. As part of the renewal, the design focused on a pathway for new exhibits in support of public programs, expanding interactivity, improving accessibility and with a focus on Bruce Power’s innovative and life-saving medical isotope production.

The Visitors’ Centre upgrades included a new front facade, removing walls, replacing old furniture, a new orientation video and – the biggest piece of all – a new-and-improved gallery of exhibits. Some of the exhibits include a new welcome area, timeline wall, CANDU reactor exhibit, environment exhibit, isotopes exhibit and the Indigenous exhibit to honour the location of Bruce Power, which is situated within the Traditional Territory of the Saugeen Ojibway Nation (SON), and the harvesting areas of the
Georgian Bay Métis Nation of Ontario (MNO) and the Historic Saugeen Métis (HSM) peoples.

Bruce Power teamed up with the Ontario Science Centre to come up with the largest piece in the gallery – the Cobalt-60 exhibit. Cobalt-60 is a medical isotope, used worldwide to battle cancer and to treat complex brain conditions. The teams extensive research was used in workshops led by the Science Centre staff and resulted in a number of prototypes that were then used on the Science Centre floor, to test usability, accessibility and gain vital feedback of what resonated with participants.

The result of the masterplan is a new, immersive experience that takes visitors through the story of Bruce Power, how nuclear power is generated and its exciting future. Visitors become a part of the action in the Cobalt exhibit by aligning gamma waves to battle brain cancer or by picking up cobalt adjustor rods using specialized tools like the Fuel Handling Operators at the Bruce Power site. They’re able to look inside a mock-up of a reactor or take a selfie – dressed in a containment suit – in front of
a large reactor face photo. They can even help power the Visitors’ Centre by using special stationary bikes, connected to the grid. The exhibit designs convey a strong identity with fresh, bold graphics and are carefully paced to offer visitors a variety of experiences.

INTERACTION DESIGN

First Place

Meatpacking

Base Design

USA

The Meatpacking District has undergone incredible transformation over the last 20 years, from an industrial backwater to one of New York City’s most iconic and dynamic neighborhoods. As this evolution is still ongoing, the website we first created for the brand in 2015 also needed to adapt to remain relevant and useful to the millions of visitors to the area each year.

Challenged to outdo ourselves, we created a radically different digital experience that truly embodies the essence of the neighborhood. It’s appealing to both local and global visitors, breaks away from the typical, generic Business Improvement District websites, and stay true to the dual-visual identity now synonymous with this corner of the city.

The updated site reflects the unique, contrasting world of the Meatpacking District. Content cards serve as the foundation, providing a user-friendly, engaging way to build narratives. This new feed interface offers a way to serendipitously discover different places and activities, rather than in a simple list. Within the details of every event and place is additional information about what’s nearby, whether that’s a restaurant, an event, or a celebrity sighting.

Threads between places and stories also lead to curated experiences and narratives that are map-related, effectively creating tours and thematic guides around the neighborhood. With this in mind, a mobile-first UI approach is geared towards users on the move, providing an experience that brings the neighborhood right to their fingertips—accessible anytime, anywhere.

The website color palette represents the diversity and sense-of-place within the vibrant NYC neighborhood. The use of photography captures its spirit by showcasing the diverse components of the community, with activities and destinations that span fashion, design, culture, art, tech innovation, and food.

The addition of such robust content elevates the site from a singular point-of-view to an engaging platform that takes the user on a much deeper journey—far more appropriate for what Meatpacking needs today, compared to eight years ago. The new website conveys the multifaceted personality of the neighborhood, affecting and enhancing visitors’ perceptions while elevating their experience of all it has to offer.

Second Place

Neiman Marcus App Design

Neiman Marcus

USA

The new Neiman Marcus app offers a seamless shopping experience that gives you access to personalized recommendations, including styled looks for you, more immersive content, expert advice from style advisors, exclusive collections, new designer arrivals, and so much more.

When users open up the app, they find a homepage that delivers engaging editorial content and immediate shopping so you can dive right into what they love. To give customers a personalized experience, the app includes daily recommendations of customized items based on what they love as well as styled looks inspired by pieces from their closet. Scrolling through, users find stories to tap into and explore that feature the latest collections, trending pieces of the moment, spotlights on designers, and exclusives. They’ll also see new arrivals and bestsellers, so you can shop the newest items right from the start of the app.

Within the Shop page, users can easily access shopping by occasion along with your favorite items and see which offers are available for you to take advantage of. And, as they explore the app, users will also notice a chat option throughout. Neiman Marcus style advisors and customer service team are available to help while shopping.

The new Neiman Marcus app brings smarter shopping to customers. And, with this update, Neiman Marcus has seen higher engagement, a jump in ratings in the app store, and a feature in Apple’s App Store for outstanding app design.

Third Place

PictureNorth

David Yang

USA

Picture North is a production company located in Chicago with a roster of amazing directors and films. They came to Tom, Dick & Harry Creative to rebrand and relaunch their capabilities deck in a digital format. They wanted to make the site dynamic, so the designer took elements from the logo and integrated them throughout the pages.

INVITATIONS

First Place

UCSF Future of the Brain Summit invitation

University of California San Francisco

USA

UCSF is ranked #1 in the Department of Neurology and Neurosurgery. In order to support the department with new philanthropic relationships, the UCSF Neurosciences development team conceived of a two-day summit. Leaders in neuroscience including doctors, scientists, and researchers shared presentations on advancements in tackling disease, treating mental illness, and improving human life. The event included intimate dinners and conversations hosted in some of San Francisco’s most notable private homes.

The goal was to make these presentations feel less academic and more relatable and approachable to the average person. The event would also clearly position UCSF as the world leader at the frontier of understanding the brain. The intended audience was an exclusive list of 150 – 200 people across the nation. The department sought to create long term relationships with philanthropists who would join a small inner circle dedicated to enabling the leading brain science on earth.

Elixir partnered with UCSF on naming, positioning, and ideation around all deliverables for the event. Branding and event materials sought to reflect the depth and groundbreaking nature of the work in the Neurosciences at UCSF. The touchpoints of the Save the Date and the Invitation – sent in a custom set-up box – employed a sense of discovery, layering, and tactility to engage the brain and get noticed and remembered in the mail. Personalization and the high production value of the large sculptured emboss, die-cuts, and foil stamping conveyed the exclusivity and quality of the event.

Second Place

2022 Public Art Fund Party!

Ahoy Studios

USA

Design in full bloom: Public Art Fund proudly showcases their invitation package for the Public Art Fund Spring Party! The invitation Ahoy Studios designed “blossoms” open to reveal neon petals and holographic accents to emphasize the bold creative spirit of the Public Art Fund.

As the leader in its field, Public Art Fund brings dynamic contemporary art to a broad audience in New York City and beyond by mounting ambitious free exhibitions of international scope and impact that offer the public powerful experiences with art and the urban environment. Ahoy has designed the materials for the renowned annual fundraising gala for many years, including the visual identity, invitation, advertising, and on-site signage. After a two-year hiatus following the pandemic, the studio was asked to visualize New York City’s spring awakening and the transformational nature of the Public Art Fund. The flower graphic did just that. The custom envelope was a bright splash in everyone’s mailboxes. As recipients unfolded the custom-shaped envelope, the flower graphic was revealed. The invitation itself was adorned with a holographic foil and a bright pink gilded edge. The intriguing invitation suite excited the New York art world to attend the party and raise funds for the institution.

Attendance was higher than ever!

Third Place

Blessed Stanley Rother Shrine Dedication Week Invitations

Ghost

USA

The Archdiocese of Oklahoma City built a shrine in honor of the first American-born martyr Blessed Stanley Rother, who was born in Okarche, Oklahoma. The Archdiocese commemorated the new building with a weeklong dedication event, requesting custom icons and invitations for each day’s activity. The invitations included an intricate texture deboss, with all text and icons printed in gold foil. The main event invite of the Shrine Dedication Mass was inserted into a red die-cut sleeve that emulated the architectural style of the reredos inside the shrine. Supporters around the globe received invitations in a custom gold foiled envelope.

LOGOS

First Place

Montai Health Logotype

One Design Company

USA

Montai Health is a biotech company founded by Flagship Pioneering with a mission to “Unlock the power of nature with digital technologies to treat and preempt chronic disease.” Our dynamic identity system borrows from the visual language of chemical bond diagrams, symbolizing the infinite chemical possibilities afforded by their platform. Vintage cyanotypes emphasize Montai’s exclusive use of safe, organic compounds.

Second Place

Youth Go Trust Logo

VAR Studio

United Kingdom

The Youth Go Trust, formerly the Castledine-Barnes Trust, has been supporting young players for over two decades. Over the past seven years, they have offered small grants to help children and young people learn the game of Go, attend tournaments, and win prizes. To better align with their objectives, the organization opted to change its name in 2022.

The logomark signifies the name of the game “go” with a composition of two black stones and a white stone. This iconic symbol is widely recognized and can be easily found on the playing board of the game.

Third Place

Ask for Backup Logo

Ghost

USA

According to a recent study, law enforcement officers will see between eight to nine hundred traumatic events over the course of a 20-year career. Often viewed as the helpers or fixers, it can be hard for this group to communicate that they need help themselves. As a result, police officers are 2.5 times more likely to die by suicide than in the line of duty. The Oklahoma Department of Mental Health and Substance Abuse Services would like to change that. It’s the driving force behind the Ask for Backup campaign.

When facing a physical threat, an officer would not hesitate to call for backup. Ask for Backup’s goal is to urge officers to do the same thing when facing a behavioral or mental health challenge. To help make that a reality, Ghost developed video and collateral pieces featuring officers talking to other officers. The campaign was launched internally at police stations statewide and included access to a crisis hotline, confidential treatment providers and specialized channels of communication within the state agency.

MOTION GRAPHICS & VIDEO

First Place

Chicago Design Through the Decades

Sharon and Guy

USA

Chicago Design Through the Decades is a swift, exciting journey through the last century of Chicago design. The project is based on the vast collection of the Chicago Design Archive (CDA), the premiere and permanent online record of Chicago design that currently holds over 3200 examples of work by over 1100 Chicago designers.

The journey investigates a human-centered approach that follows engaging characters and textual tidbits from archived design works, beginning with the 1920s’ painterly, illustrative techniques. Forms then evolve under the modes of photography, minimalism, futurism, three-dimensionality, postmodernism, and more throughout the 1930s–2010s. Ultimately, the journey ends with digital portraits produced using neural networks, a machine learning (ML) approach that formed the foundation of much of modern artificial intelligence (AI)—technologies becoming increasingly prevalent in contemporary art.

Each “design decade” emphasizes the specific understandings and methods of the time. The underlying research made it possible to apprise how particular characteristics evolved over time in the presence of social, cultural, political, economic, and environmental contexts. The project presents an opportunity to review the development of Chicago design history as a series of chronological stages and connects them into a cohesive visualization.

At once nostalgic and whimsical, the overall journey abounds with both humorous and sobering moments. It harnesses leading technology to focus public attention on the complexity, historical context, critique, and interpretation of archival materials. The breadth of creative works by Chicago designers shown in the time-lapse visualization illustrates the perpetual advancement of design, a field that continually expands, allowing members of the public to immerse themselves in design history. Additionally, the project opened new avenues for collaboration between design, science, and digital humanities to elevate the appreciation of Chicago design history, and to contribute to the recognition of Chicago as an international modern design center.

Following seasons of forced social isolation, this outdoor public projection celebrates the resurgence of communal gathering and experiencing art together in the streets of Chicago.

Second Place

The New Happy

USA

The New Happy turns scientific research into simple, useful, and beautiful animations that help millions of people with their happiness and well-being.

Their work translates academic findings into a new type of visual and motion language, helping people understand and act on complex ideas such as compassion, courage, purpose, authenticity, and service.

The problem they seek to address: unhappiness is at a record high all around the world.

But it doesn’t have to be this way. There is a huge amount of academic research that has identified key insights and practices that improve well-being. Unfortunately, this information is inaccessible to the average person. Not only is most of it locked away in academic journals; it’s not translated into actionable tools that the average person can use.

The New Happy’s goal was to close this gap: turn research into artwork that helps people to feel happier, and then turn that artwork into animations that offer an informative, educational pause to integrate the lessons even further.

To achieve that goal, they developed a unique visual language, influenced by the Bauhaus movement, Color Field, and abstract impressionist painting. It’s shaped by an intuitive sense about the way that forms and color can represent emotions, transformations, and well-being. Further, they’ve developed a motion language that creates an immersive and transformative experience for the viewer.

Every animation conveys a unique insight, lesson, or tool that can be used to transform a person’s individual well-being or the wellbeing of the world around them.

The New Happy has five core design principles that guide everything we do.

The first is to do good. Their philosophy of happiness is grounded in one key idea – they are here to help each other. Every animation seeks to contribute to our collective happiness.

The second is science. Every single animation we share is backed by research. They do all of the research so that you don’t have to.

The third is clarity. TheyWe use design to clarify and disambiguate this research into messages that are both understandable and useful, and our animations clarify the message further using the power of movement and sound.

The fourth is simplicity. They communicate these messages in the simplest possible way, across layout, shape, color, copy, motion, sound, and pacing.

The final is community. Their goal is to build a world where we are more connected to each other, and that begins with integrating our community across each platform and delivering messages that encourage connection.

This visual and motion language allows us to clearly communicate complex ideas about topics like purpose, responsibility, compassion, connection, and awe. In turning these topics into animations, they are able to illuminate them in a new way, enabling “lightbulb moments” that change the way the viewer treats themselves and others.

They reach over 3 million people every month through their popular daily newsletter, social channels, podcast, and online platform. Their work has been featured in publications like PRINT, FastCompany, Design Milk, Grazia, Tatler, CNBC, and in companies and schools around the world.

Third Place

He’s back!

Ariel Freaner

USA

Calimax’s character The Crazy Cart is finally returning! During COVID, Calimax canceled onsite and ground promotions with The Crazy Cart, and clients repeatedly asked when he and all his onsite promotions were coming back.

They redesigned the character, enhanced his visual features, design, and personality, and produced him in higher quality animation. This also included campaign formats, media-targeted online video, the Calimax website, internet banners, social media, local TV, and email blasting.

With over 100 stores, Calimax is the largest supermarket chain serving Baja California and Southern California, primarily focusing on San Diego County.

OUTDOOR AND BILLBOARDS

First Place

Museum of Fine Arts Boston

Base Design

USA

Art For All: Reframing a world-class museum as a place for everyone.

Boston’s principal art institution has one of the most comprehensive collections in the Americas, an enviable assortment of masterpieces from centuries past, all the way through to contemporary icons. But like many large museums, its grand Neoclassical building and prestigious reputation have proven in the past to be intimidating and off-putting to potential visitors. Even though the Museum of Fine Arts has evolved its programming to feature more diverse artists and community initiatives, external perceptions had not aligned with this shift until recently.

The New York office of international branding agency Base Design pivoted MFA’s positioning to remind all Bostonians that its spaces and collections are for everyone, not just the elite. Through a new visual identity and messaging, the goal was to convey a sense of belonging for visitors of all ages and backgrounds, who should feel a sense of warmth, welcome, and inclusion in the museum’s communications, as well as see something new and surprising happening at MFA.

The new MFA logo more prominently features “Boston” and literally connects the letterforms of the A and B to firmly tie the museum to its location. Bold, contemporary, slightly quirky type includes special glyphs that create a sense of belonging and connection, embracing from above and supporting below.

For visuals, a confident primary palette of white, black, and the brand’s heritage red is supported by various vibrant shades. The messaging system evolves from the museum’s previously used red square into a triangle as a flexible element that activates interactive content and points to the future. It features as part of an animated ticker that reinforces the idea of news and excitement, and feels dynamic even when static.

The slogan “Here All Belong” was chosen for the relaunch campaign as a promise of active inclusion that reflects what the museum is and stands for today. It’s applied within a flexible visual framework supported by portraits from the MFA collection, which were selected from a diverse range of time periods and regions to create a human connection with the viewer.

The arrival of the Obama Presidential Portraits by Kehinde Wiley and Amy Sherald at the MFA on September 3rd, 2022 presented the perfect opportunity to reveal the new identity and slogan. Posters were installed all over Boston ahead of the exhibition, inviting a more diverse audience to the museum. Together, the revised identity and the campaign ensure that MFA feels welcoming and highly accessible, and that everyone can enjoy its world-class collection of art.

Second Place

Boulevardia Streetcar Wrap

Whiskey Design

USA

All aboard the party streetcar! Kansas City’s beloved and eccentric music, food, and beer festival went grand this year for The Boulevardia Festival. Whiskey Design transformed the KC Streetcar into a monstrous, out-of-this-world public transportation vehicle to help festival goers and Kansas City’s visitors easily get to and from the festival.

Third Place

Takeover of Rockefeller Center | Visionary: The Paul G. Allen Collection

Christie’s

USA

The Paul G. Allen Collection took over New York’s Rockefeller Plaza for a full-length exhibition to support of the auction of Visionary: The Paul G. Allen Collection, which became the most expensive collection ever sold and donated to philanthropy. In the two weeks leading up to the sale, all of Rockefeller’s 193 United Nations flags came down to make way for images of top lots, as well as Christie’s and Visionary logos. Large-scale projection videos on 30 Rock served as the showstopping photo backdrop for visitors of the world-famous skating rink. In addition to 30 Rock, projections on the tops of buildings 610 and 620 shined down on the heavily trafficked 5th Avenue. Seven light boxes around the Plaza called for visitors to scan QR codes to discover more about the collection on christies.com. The Rockefeller Center experience culminated in our galleries, drawing crowds that wrapped around the block. Exhibit-goers moved through the line next to sneak-peeks of highlights from the collection displayed on all window banners and bullnoses. Vinyl with artists’ names decorated the front of the building, including the revolving doors, to beckon visitors into the visionary world of Paul Allen’s collection at Christie’s.

PHOTOGRAPHY

First Place

Hong Kong Ballet

Design Army

USA

CHALLENGE

The COVID Pandemic: It’s a challenge everyone has faced for the last few years, but Hong Kong Ballet (HKB)’s goals remained – maintain the HKB as an institution of national prestige, reach new audiences, and generate subscriptions. However, the past season proved even more challenging due to limitations and access to dancers, locations, and time zones. This meant that the HKB season program was subject to change (or cancellation), and a smaller budget was granted to create bigger than before brand images. They had to develop a smart (remote) approach to capture/create the season campaign from the United States while maintaining a highly artistic execution on the ground in Hong Kong.

IDEA

Not knowing what was next in the pandemic, they decided that NEXT should be the seasonal theme. Design Army took a Surrealist art approach and developed visuals that would transport audiences to the most desirable places they wanted to be – outdoors and in fresh air. The HKB dancers float on sky-colored backgrounds interacting with nature, the future, and spaces that we only dream of entering.

RESULTS

Even with constant openings and closures due to COVID, the season was still very successful. The brand visuals deliver delight and whimsy with an instantly recognizable look for the HKB, and they HKB saw an increase in subscriptions and social media growth upwards of 15%. The season campaign further elevated the HKB as a premiere cultural institution in Hong Kong and as one of the most vital ballets in the world.

Second Place

Unveiled. Unbelievable.

Mythic

USA

Charlotte Ballet is known for its strong professional dancers and versatile repertoire, ranging from classical ballet like the Nutcracker, to bold, contemporary works. This year, the team developed a campaign promoting the upcoming season and performances with the Charlotte Ballet’s internationally acclaimed artistic director, Alejandro Cerrudo, to choreograph and photograph the thematic concepts.

To unveil is to place something on public display for the first time. It’s this art of the reveal that stirs curiosity and intrigue in the audience. But how do you unveil an art form that tells a story with every subtle movement of the human body? The “Unveiled. Unbelievable.” campaign captures and dramatizes the art of the reveal by cloaking the dancers that bring these stories to life in fabric and having them unveil what’s coming to the stage in 2022-2023.

Third Place

Tabletop Vintage

USA

Tabletop Vintage is an immersive online antique shop operated by a small team of three, with professional backgrounds in art direction, design, copywriting, and anthropology. They source our antiques from all over the East Coast and use what we find to inspire themed “collections.” They then create intricate, handmade sets and thoroughly research our items. Through this means of visual and written storytelling, they are able to explain the antiques’ relationship to the world they designed and their significance as both a part of history and a unique piece of home decor.

In the last year, they have celebrated the tones and textures of the Wild West, brought customers center stage in an Old Hollywood MGM musical, and even immersed them in the true story of the 1960’s alien abduction of Betty & Barney Hill. This winter they launched the Tabletop Museum of Fine Art collection, which quite literally brought the viewer through several unique galleries celebrating five iconic eras of art history and the antiques that represent them.

To say this these collections are made with love would be an understatement. Tabletop uses the principles of theatrical set building and photography to help the viewer see something old as new again. What is most important to the spirit of Tabletop is presenting a story as more than just a product. They use unique and intricate product photography as a means to help people appreciate the rich history of any given item. In these days of mass consumerism, it’s profoundly important to honor what has stood the test of time.

POSTERS

First Place

Work of ART Posters

Brunet-Garcia

USA

Despite major advancements in care for HIV, specifically antiretroviral therapy (ART), the treatment rates for the disproportionately affected populations—specifically the LGBTQ+ community and people of color, including Black, Hispanic, and American Indian populations—still lag behind the national average. The US Department of Health and Human Services needed to reach these groups with the lifesaving news that ART can help them achieve an undetectable viral load. And undetectable means untransmittable.

“I am a work of ART” tells the story of real people living with an HIV diagnosis, and how getting into care has allowed them to get healthy and live life on their terms. This diverse group, from different backgrounds and different ways of life, is united in treatment. Each is currently receiving antiretroviral therapy (ART) to reach an undetectable viral load, a stage at which the HIV virus is undetectable in their bloodstream, and therefore untransmittable.

The double meaning of the campaign—ART as treatment and as a statement on the inherent worth of each person—was brought to life by Temi Coker, a multimedia artist famous for his work with Apple, Facebook, and the Oscars. Temi used his trademark style to create a series of custom portraits featuring each of our individuals. Through the use of color, shape, and the interplay of patterns, Temi masterfully represented each of their stories and style in their respective posters.

Each poster, equal parts art and outreach, featured testimonial copy about the way in which this treatment helped them take back control of their life and was signed by the featured individual.

These bright, optimistic, and unapologetic posters give a hopeful message to people who are living with HIV, busting the persistent stigmas about what that life could be.

Second Place

EL CLÁSICO ES VIDA / EL CLASICO IS LIFE

Mi Querido Watson

Spain

Life is everything. Yesterday, today and always. Life is something that happens in the street or on a stage that represents the street. Life is what people feel and what an actor represents. Life, moreover, is renewed every day and is impregnated with trends and avant-garde. Life is prose and verse, reality and metaverse. Life is something dual that happens and is enjoyed in EL CLÁSICO (the coloquial way to name TheNational Company of Classic Theatre).

And dual is the visual interpretation of EL CLÁSICO in this always bicolor and conceptual proposal. A mix of classicism and modernity achieved through the fusion of historical and contemporary images and the printing technique in which all the pieces of this campaign are inspired: Risography.

The printing system that unites screen printing and photocopying and generates that effect of ‘handmade’ as personal and unique as life itself. The use of pure flat color inks plays to overlap to achieve new tones and enrich the pieces, even producing certain ‘flaws’ that bring so much life to each visual.
A graphic identity work for EL CLÁSICO that is not ‘classic’, but quite the opposite, and that reinvents itself as that eternal brand in constant revolution. Because EL CLÁSICO IS LIFE.

Third Place

11th Festival Miroslav Krleža

Mirko Ilic Corp

USA

Miroslav Krleža (1893-1981) is the most celebrated Croatian writer. Last year I was asked to create a poster for the 10th Miroslav Krleža Festival in Zagreb, Croatia. Mirko Ilic created Miroslav Krleža’s profile wearing his very characteristic hat. Because one of his most famous novels is titled Zastave (The Flags), he made his profile out of all incarnations of Croatian flags during his lifetime.

The poster was controversial but very successful. When the festival asked Ili to create a poster for this year, he decided to approach the new poster from a different direction. Now Krleža is facing
in a different direction.

SELF-PROMOTIONS

First Place

Fantastic Beasts

The 6th

Italy

Albertin is a top plate-printing manufacturer in Italy that needed to show its services in an impactful way at the print fairs that, in recent years, have focused on sustainability.

So The 6th created a set of cards illustrated with impossible animals: maybe the only beings able to survive pollution, deforestation, and resource exploitation, thanks to a mix of features from different species.

The illustrations style permitted Albertin to show a lot of different textures and printing styles in each card.

The end result is not just a self-promotional gift, but also something people can reflect on.

Second Place

Based on a True Story

Kreatives

Germany

Kreatives’ annual end-of-year gifts have become a popular ritual and opportunity for them to send something unique to the clients and friends of their design strategy studio. During 2022, they saw significant growth in their video production team. They wanted to promote the addition of their video services in a way that no one would expect: through print.

They started by exploring the theme of a physical VHS cassette– and the watchable experience it contains – as a printed product. To push the nostalgia buttons further, we built an unboxing experience combining retro design, early computer graphics, and the colors of TV test card patterns. They created and tested the whole dieline in-house, building the custom packaging from the ground up.

The team designed their simple all-black packaging to bring mystery and elegance to the unboxing experience. They used embossing and a screen-printed varnish to embellish the outside packaging for the notebook, resembling details of a VHS through texture. Both techniques did not add color to the packaging, thus elevating the feeling emitted by touching the packaging.

When opening the packaging, you immediately get a peek of color that hints at a more extraordinary experience. The classic TV broadcast test pattern inspired the colors used throughout the product. Kreatives applied the same color pattern along the side cut of the notebook to invoke a nostalgic and familiar feeling of early broadcasting entertainment.

The color side cut was intentionally the only part of the notebook with the color pattern, creating dynamic juxtaposition with the sleek black packaging. They also use the color pattern beneath the packaging tear strip to create a defined connection between the product and packaging and provide that hint of color upon opening it.

The phrase printed at the beginning of the notebook, “based on a true story,” gives way to the intention of the notebook. Details in the back of the book take the form of movie credits to acknowledge the “cast” of materials that went into making the product and the “crew,” production partners.

The card adds a personal touch to the book, allowing for the inclusion of a handwritten note to the receiver. A QR code leads to a secret page on the Kreatives website showcasing their end-of-year message and video reel, connecting the print and digital experience.

For this project, we created a font called “Kreatives Sharpie,” enabling us to batch-produce shipping labels and mimic the idea of an old-school handwritten VHS label. They used no additional packaging to be as sustainable as possible, which added an unpredictable component to the experience: every package arrived a little bit different with their markings from shipping, evoking a feeling of usage and passing of time.

The paper used for both packaging and notebook cover is the very luxurious 400g Black Magic by Inapa because it was sturdy enough for shipping while also serving as the notebook cover. A Pantone silver was used for the text inside the notebook, visually alluding to the black and silver aesthetic of classic ‘90s VHS players. This elegant yet durable paper for the packaging and notebook added cohesion to the unboxing experience.

Third Place

MET Experience Book

Metropolitan Fine Printers

Canada

Producing this piece was quite challenging, as there were so many parts that all needed to be integrated into one book. This is why Metropolitan Fine Printers chose the Chicago Screw binding, as it would allow them to have all of the components we wanted, all while keeping the binding uniform and clean looking. They wanted the book to be as interactive as possible, so they had to be creative in finding new ways for the reader to interact without any repetition. This includes removable coasters, a usable postcard, a functioning cross-stitch with needle and embroidery thread, a tea bag pouch with an actual tea bag, a balloon, and temporary tattoos. The finishing touch is a page with Photochromic ink that, in direct sunlight, would reveal additional components to the image in beautiful colors. Each item was interactive in its own way and engages many different demographics.

STUDENT

First Place

Bandai Gunpla Motion Identity Campaign

ArtCenter College of Design

USA

Mobile Suit Gundam, the groundbreaking anime series that first premiered in 1979, has left an indelible mark on the entertainment world. Its impact can be seen in the vast array of spin-off series and movies that have followed and in the popularity of Gunpla, or Gundam Plastic kit building. Less than a year after the premiere of Mobile Suit Gundam, the first Gunpla kit was released, giving fans of the series the opportunity to bring their favorite mobile suits to life in the form of intricate, highly-detailed models. For the past 40 years, Gunpla building has become a beloved hobby for people of all ages, as fans around the world continue to be captivated by the unique and intricate designs of the mobile suits featured in the series.

As huge fans of the Gundam animated series and Gunpla building, ArtCenter College of Design wants to take this opportunity to create a logo/brand message motion piece to tribute to their love and passion for all things Gundam. They hope this tribute will showcase their admiration for the series and inspire others to discover and enjoy the wonderful world of Gunpla building.

Second Place

Once Upon a Bite

School of Visual Arts

USA

This title sequence is for the 2018 Chinese food documentary series titled Once Upon a Bite. The show explores the evolution of (primarily Chinese) food from a global view and the relationship between people and their food. This project uses traditional illustration to show the farm to table process.

Third Place

Day 2

California Institute of the Arts

USA

Day 2 consists of a motion piece followed by an interactive installation. In this thesis, a student challenges their perfectionist tendencies by delving into the messy middle of the design process. Through this project, they aim to explore how far they can push themselves and how much of their process they’re willing to share with others. They also question whether they allow themselves to seek help and collaboration when needed.

Perfectionism can be a double-edged sword for designers. On one hand, it can drive us to create our best work and strive for excellence. On the other hand, it can lead to self-doubt, burnout, and missed deadlines. Day 2 is an encouragement to embrace the messiness of the creative process.

The crack teams behind ad agencies dedicate their lives to simplifying this question. These masters of persuasion have the answers, so how do they lead other people to them? But that, of course, would be like asking a magician to reveal their trade secrets. Only the best of the best know how to lead horses to water— and make them drink.

It’s only fitting that we bring some of our favorite branding experts to judge the PRINT Awards’ crucial category of Advertising. This international trio has lived and worked all over the world, and their extensive experience ranges from shaping up the identities of world-famous institutions to influencing community initiatives in the nonprofit sphere. They know how to find the right looks to spotlight, the best words to highlight, and the vision that will tie it all together.

Does this sound like you? Are you thinking about entering the PRINT Awards, but still on the fence? If you need one more push to submit before our final deadline of March 7, let our incredible Advertising judges persuade you…

Ricardo Saca Cardenas

North American Managing Partner — Cato Brand Partners

For almost two decades, Ricardo has helped brands develop and evolve with analytical research and bold creativity in a variety of industries, including health and wellness, finance, entertainment, transportation, tourism, and CPG. He’s a type lover and a team talent amplifier who works to challenge corporate brand bullshit. He currently brings his management expertise to the global design and branding studio Cato Brand Partners and occasionally writes here at PRINT. He holds a Masters in Branding from the School of Visual Arts and is a recipient of the Brand Master award for exceptional academic performance, leadership, and strategic thinking.

Mike Rigby

Chief Design Officer and Founder — Proto

Mike Rigby is a British designer living and working in New York who began his career at acclaimed UK design consultancy The Chase. He carries The Chase’s principles of “a great idea, well crafted” into every new project he begins and has since worked at Pentagram London, Landor, and Interbrand Australia. Mike has received more than 50 international design awards and recently won the DDB Group’s Bill Bernbach Award for Creative Brilliance. He’s worked for a variety of clients including The Tate Gallery, The National Portrait Gallery, Queensland Art Gallery, Alzheimer’s Australia, and many others.

Elan Cole

Executive Vice President — NYC & Company

In his current work at NYC & Company, Elan is helping to rebuild and equitably distribute the city’s tourism economy with his inspiring team and partners. He is also on the Board of Directors for NYC x Design, a newly independent nonprofit that organizes an annual design festival and year-round events to bolster and expand the burgeoning local creative community. In both roles, Elan helps elevate and amplify the voices and great work of his fellow New Yorkers to the world at large.

R

Looking for inspiration? Last year, Zulu Alpha Kilo’s “Come & Glow” campaign for Consonant Skin+Care knocked our jury’s socks off in more ways than one…

If you were looking for a sign to enter The PRINT Awards, this is it! Our final call for entries ends March 7.

So what are you waiting for? Throw your hat in the ring for your chance to win!

Frame by frame, pixel by pixel, you’re creating designs that catch the eye. Your work jumps off the walls, book covers, screens and brochures to shape the way we comprehend and consume the world around us. But, we know you need just a bit more time to enter that work into the 2023 PRINT Awards.

For 40 years, the PRINT Awards have honored the best in design, adapting and expanding to reflect the dynamic worlds of print, digital, conceptual, AI-influenced and more creations from the world’s most talented minds. If you’ve created something eye-catching across one of our 24 categories, submit it before our final extended deadline of March 7.

Our PRINT Awards 2023 jury stands ready to reward the highest examples of originality, innovation, longevity, and craft across 24 categories. It might be photography with lighting that sings, or illustration so invitingly gorgeous it makes us weep, or an engaging self-promotion that helped grow your business. Whatever your skill, you’ve worked hard to perfect it, so submit your work for consideration in this year’s PRINT Awards before the deadline.

The PRINT Awards is internationally recognized as an annual chronical of inspiration, established and emerging talent, design trends, and thought leadership. Why not submit your work to join the esteemed list of PRINT Award recipients that will be celebrated this year?

2022 Award Winners in Photography-Vice Media Group | Illustration-Ginko Bioworks | Self-Promotion-Fictionist Studio.

That’s why the PRINT Awards categories of Posters, Promo, Environmental Design, and Billboards feature a team of experts who know what makes a design great. These impressive aesthetes come from all over the western hemisphere and have made waves in the fields of advertising, education, media, and more. They’ve worked with government agencies, esteemed universities, and even The Smithsonian!

If you’re a poster, billboard, or environmental designer interested in a PRINT Award, we bet you’re curious about who’s looking at your work. Read all about them below…

Maurice Cherry

Principal and Creative Director — Lunch

Atlanta-based design strategist Maurice Cherry is the founder, principal, and creative director of Lunch, an award-winning multidisciplinary studio that helps creative brands craft messages, tell stories for their targeted audiences, and fostering relationships with underrepresented communities. Maurice is a pioneering digital creator who is best known for the award-winning Revision Path, the first podcast to be added to the permanent collection of the Smithsonian’s National Museum of African American History and Culture (NMAAHC). Other projects of Maurice’s include the Black Weblog Awards, 28 Days of the Web, The Year of Tea, and the design anthology RECOGNIZE.

Alberto Rigau

Freelance Designer / Co-Chair for AIGA’s DEC Steering Committee

Puerto Rican designer Alberto Rigau has over 18 years of experience crafting and conceptualizing brands, exhibits, way-finding systems, publications, books, photographic projects, and environmental graphics. As Co-Chair of AIGA’s Design Educators Community, he collaborates with design educators to develop content and programming to further academic research, teaching practices, and conversations within the field. Alberto holds degrees from NC State University’s College of Design, Syracuse University’s S.I. Newhouse School of Public Communications, and the Maxwell School of Citizenship. He is a 2004 Poynter Institute Summer Fellow and teaches graphic design at miscellaneous institutions, most recently Virginia Tech and NC State University.

Pablo Ulpiano

Consumer Solutions Manager – Essential Health, Skin Health (Global) — Johnson & Johnson

Pablo Ulpiano is a dedicated advocate of storytelling and sustainability who believes the best design stems from understanding people. In his current work for Johnson & Johnson, he helps innovate some of the world’s most beloved brands. He also lectures at the School of Visual Arts Master’s in Branding program on case studies that integrate innovative research methods into a wide range of projects. He’s worked with startups, multinational companies, and government agencies across industries including healthcare, financial services, and luxury retail. He excels at helping brands define their purpose, develop their innovation pipeline, and deliver insight-driven branded experiences.

Looking for inspiration? Last year, Mirko Ilic Corp’s poppy psychedelic design for the play Moj muž (My husband) impressed our judges enough to win First Place in the Posters category.

The clock is ticking, so don’t wait another minute— apply for the PRINT Awards today!

In our roundup of judges, we’ve seen no shortage of wild stories and fascinating mythologies, and the jury for our categories of Interaction, Motion Graphics & Video, and Data Visualization / Interaction Design are no exception.

Our judges for these categories have left their mark on culture, from iconic visuals you can still find on the walls of record stores to viral campaigns that have influenced city dwellers’ everyday choices. They’re figureheads of creative communities on both sides of the Atlantic, public speakers with immense platforms, and experts in the realms of video, data, and interactive design. And lucky for you, they want to see your work!

But who are they? Let us introduce them below…

Ary Arasen

TikTok Creative Lab — Creative Lead

In addition to his current work at TikTok, Ary Arasen has crafted ideas for some of the biggest brands in the world, like OffWhite, Nike, Kenzo, Samsung, Dior, and Apple. His work takes care to put humans first, understand their behavior, and evolve culture, and create a solution worth talking about. He’s made news, won awards, and created #WalkLondon, a movement that inspired London to walk to work. In his spare time, Ary creates innovative side projects, hacks, and prototypes with a collective of talented technologists, filmmakers, developers, strategists, designers, photographers, and bloggers, some of which have appeared on television.

Cey Adams

New York City Native and Visionary Artist

Cey Adams emerged from the ’80s downtown graffiti movement alongside fellow artists Jean-Michel Basquiat and Keith Haring. He was the founding creative director of Def Jam Recordings, where he “defined the visual culture of hip-hop” by creating identities, album covers, logos, and campaigns for historic acts including Run-DMC, Beastie Boys, Public Enemy, and The Notorious B.I.G. Cey has exhibited and taught art workshops at The Smithsonian National Museum of African American History and Culture, MoMA, The Brooklyn Museum, MoCA Los Angeles, and more. His work draws inspiration from ’60s pop art, vintage sign painting, comics, pop culture, and community issues.

Giorgia Lupi

Pentagram Partner

Giorgia Lupi is an award-winning designer, public speaker, and co-founder of Accurat, an internationally acclaimed design firm with offices in Milan and New York. She is a member of the World Economic Forum’s Global Future Council on New Metrics, a Fellow of the Royal Society of Art, and a Director’s Fellow at MIT Media Lab. She was named One of Fast Company’s 100 Most Creative People in Business in 2018 and you can find her work in the permanent collection of MoMA. She co-authored Dear Data and Observe, Collect, and Draw: A Visual Journal, both with fellow designer Stefanie Posavec.

Looking for inspiration? Last year 203 X Infographics took home our top honor in the Data Visualization / Information Design category for their irresistible infographics.

Do you work in video, data, or interactive design and you think you can wow our judges? Hurry up and enter The PRINT Awards before February 28!