50 Comments

Patrick, great article! I hope it gets the traction it deserves and helps wake up the design community at large. Perhaps this was an off-year for design and branding, or perhaps the D&AD are finally showing their colours and picking a side after all this time of whispering.

Before I lived in Britain, I was unfamiliar with D&AD. After a year of observing and researching the whole 'culture' of pencils, I was left with a slightly bitter view of D&AD. And not [solely] because I didn't win anything. It was my observation that they struggled with an identity crisis: The D&AD is a professional society, an educational organisation, and an awards body. That right there is enough to stress out the industry, but most of the drama goes to the awards.

I am still amazed at how much weight the D&AD carries. Winning a pencil can change the nature of an agency, and can launch the career of a student or young professional. But with such power comes the rumblings of politics, professional inbreeding, and other snickering. Should one single contest carry so much gravity in the industry? How about an organisation that has trouble defining itself to begin with?!

Patrick, I think your ideas are great. Your suggestions for reform all follow my own thesis which is simply to divide the scale and scope of the awards. The first split would be Design vs Advertising. Yes, yes, we're all supposed to be brothers, but let's be honest, the design and branding industry is growing into it's own beast, and in every manner of operation is different from 'big advertising.' Also, they could awards specifically for UK entries and for International. This makes the pools smaller and increases the chances of winning or being nominated. More winners may mean less prestige (devaluing the currency of black pencils?) but it also means there will be less whining and scrutiny on _how_ the winners were chosen and the lopsided results.

I'm afraid I'm not close enough to say whether or no the judges are to blame. I would hope that the judges aren't all from the same 5 agencies year on year, but that sort of legacy is the first thing to avoid. These days I'm back in New York and I'm actually glad that the D&AD doesn't have as much power over here. I don't think it's healthy for the entire industry to be focused on the whim of so few, especially when the results appear to be madly haphazard and lopsided as they were this year
Prescott Perez-Fox
2008-05-16 01:25:07

Nicely put Patrick.
Shaun Tollerton
2008-05-16 02:19:43

Superb article. Someone's needed to write this for months...
Sean Thomas
2008-05-16 11:30:44

"The idea of having such a venue has been talked about at D&AD – in my opinion, it’s a must."

I for one would love to be able to interact with the D&AD in this form, this could solve many of their arising issues. Great Article!
James Kirkup
2008-05-16 12:28:35

The work featured in the D&AD annual, as Simon Waterfall (our President) eloquently put it in his prejudging warm up, is meant to “make you feel sick” with jealousy. It is supposed to be award winning work. Most of it didn’t, much of it wasn’t. When every single graphics judge I talked to, and I talked to quite a number on the day, expressed their disappointment about the work entered, you have to wonder about the entries rather than the judges. As a foreman of one the Juries I have to say that we had an honest, conscientious and open discussion about the work and we came to the conclusion that it was generally a poor year. We did have the “maybe we should lower the bar” discussion, but were all totally against it. So lots of professional, competent work, very little award winning. Why? Is it all Creative Review’s fault? We are limited on what we can spend on awards and the Creative Review Annual is much more connected to the contemporary design than the D&AD seems to be - and it is on general sale - and more people see it - especially client side. As Patrick’s piece hinted at, the D&AD needs freshening up. A few thoughts to add to his excellent suggestions: Get rid of the Juries completely and have on-line voting - free entry, pay to 35p to vote! It works for Simon Cowell and it’s for charity. Special invitations for free entry, Jury members nominate a limited number of favourites that haven’t entered for consideration - this might cause problems politically but would raise the standard. Ditch the Annual, it is very expensive to reproduce - put it online and make it a permanent archive for all designers and clients. Re-Brand! There were apparently more entries this year than ever before so something is going right, we just need more quality. We did enter one piece into D&AD and it got in-book, we were delighted, even if it didn’t get the gold it so richly deserved.
Tony Brook
2008-05-16 12:40:13

From Alan Dye, NB: Studio

Great article…
Apart from the bigger picture of how the awards are categorised, run
etc. My personal thoughts on the actual judging - and this is from a lot
of experience on these panels - is that a bunch of graphic designers judging
graphic design can be so negative and boring. I’m not at all surprised
that nothing won. I actually know a lot of companies check the panel
before entering – that's bloody sad, but I have seen personal taste
win over a fantastic innovative idea!

I personally think a judging panel should be made up of a healthy mix
of illustrators, photographers, art directors, copywriters, graphic
designers etc. We’ve all been to art school, or whatever they are
called now,and should be professional and certainly able to see something
exceptional with the ego left behind…or maybe it was just a crap year?

We are chuffed to actually get something in the book…


Alan Dye
Creative Director
 Patrick Burgoyne
2008-05-16 13:14:31

Does this mean graphic design is now demoted to medium, rather than message?
Nick Clark
2008-05-16 13:38:06

How disappointing to hear how poorly graphics fared at this years D&AD. As a student D&AD was like the Holy Grail to me, the work was amazing the characters who won inspiring. As a designer a good few years down the line I was delighted to get a piece 'in book' that was as good as gets as far as I was concerned. Upon receiving the book I read, I think the intro, which was by Adrian O Shaugnessy, and I am paraphrasing, so I hope he forgives if I misquote or misconstrue, but the gist I took from it was that he was disappointed with the quality of the graphics entered and he asked why couldnt we ask the more exciting outfits to enter, I must confess it dissipated all joy and you were left feeling what was the point.

Last year I ceased being a member, I still love design, there is still an amazing amount of great design produced perhaps people no longer feel the need nor worth in being judged. Finally if D&AD want designers to enter, how do they think designers who did enter but got nowhere might feel when statements like"Judges this year tell us that the standard of work was “appalling”, are released into the public domain?
Adam
2008-05-16 14:14:55

I blame the system. Especially education.
After studying and working years in London, and now working and living in Germany I have to say I'm appalled at the quality and level of work from students and more so from their so-called 'teachers', while that is where the real problem lies.
Not just in the UK, it's happening everywhere.
'Graphic Design' has changed, and will never be the same again, rather like being swallowed up into a black hole called 'multi media'.
Action Man
2008-05-16 14:32:14

Patrick, there are some good ideas up there.

One of the problems with D&AD is also it's greatest asset - it's so bloody hard to win one. There are always bits of dodgy work that slip through sure, but basically Black pencils are bloody brilliant bits of work.

I love the idea of D&AD having a building, I think would be fucking brilliant. But surely that's too expensive an option?

It is expensive to enter, but it's also bloody complicated. It takes ages and it's confusing and frustrating. As Michael says in the other article, "If you had called me I’d have told you to enter it into this, this and this category". You shouldn't have to ask an ex-President which category to enter, should you? Maybe not having category is a good idea.

One thing I think has been over looked is the career path of the judges. Say you're an advertising judge, 35 and working for AMV. You might fancy a job at w+k one day, or Fallon, so it pays to be nice about the work. Say you're a design judge, 35, you probably run your own agency so you think, "Fuck NB Studios they ain't winning owt!" "Michael Johnson, he's not getting another one". Maybe?
Ben
2008-05-16 14:39:14

I think this is actually a sign that graphic design as a discipline in its own right is stronger than ever. The percieved ”abscence” from competitions like this is perhaps a result of a need among the graphic design community to distance themselves from the advertising industry. In Sweden, where I work, the trend has been very strong for the last decade with the result that the entries in our national advertising competitions in no way represents what is actually going on in the field of graphic design. And as soon as everybody recognizes that the awards have lost their representative quality, the incentive to enter becomes even weaker for the designers. It becomes painfully obvious that all the interesting stuff is happening somewhere else.

So my point is that this might actually be a healthy sign for the state of graphic design and that the graphic designers have the means to get publicity and recognition through more uninstitutionalised design related channels like magazines, web sites, blogs etc.


Please excuse my poor english.

Nille Svensson
Graphic designer and former D&AD judge (2006)
Nille Svensson
2008-05-17 19:41:56

I hadn't been to a D&AD Awards night since 2001, that is, until last week.
I wished I had listened to my inner self, which was saying ‘For Christ's sake Mike, don't go!’ But I'd been nominated and a combination of curiosity, and yes, I’m embarrassed to say, ego conspired to deliver me. And there I was sitting in the Royal Festival Hall (a nice building to be in) with the infuriating and continuous ebb and flow of people moving in and out of their seats throughout the evening armed with yet more glasses of bubbly.
Meanwhile the award recipients were ushered on and off the stage at an alarming rate, with the pre warning, ' No speeches. We're very pleased that you've won an awarded, but we're not interested in what you've got to say'. My nomination came and passed unrewarded. Oh well, I thought at least there'll be food and drink when all this is over. The evening continued in it's chaotic, Piccadilly Circus like fashion, only interrupted by the occasional loud gong denoting that, ‘It’s a gold!’ This happed twice for Apple, at which point Dick Powell - who was accepting the award on behalf of 'Johnny' Ive - strutted over to the microphone to make, what I can only describe as, a two minute advertisement for Apple. I think the whole audience was expected to genuflect at that point. It was ridiculous.
The evening limped to a close and everyone made a beeline for the food and drink. It was unbelievably disorganizes with multi-layered queuing – I should say here that I stopped queuing for anything well over two decades ago. So outraged by this seeming reenactment of a third world food distribution depot I, along with a few hungry fellow refugees, took off to find a civilized restaurant to commiserate about the waste of money. Money I might add that would have been more useful in Burma right now.
For me D&AD started to loose it’s way when it became 'global'. The very
act of judging work from overseas is problematic and is akin to those disastrous holiday purchases that we all make from time to time. They can either be an eccentric hit, but more often are utter embarrassments. There are now far too many categories and anybody and everyone seems to be eligible for membership, from the tea lady to the client - all I suspect to get more coffers in the pot. The annual is something that I rarely look at, as they have become so cumbersome. There was a time when both silver and gold awards were given out with real discernment, and in recent years even the President’s Award has moved to celebrate those with more business acumen rather than the creative mavericks of old, who had been responsible for an astonishing body of work over their lifetime.
In my view D&AD is now far too big for it’s boots and, being currently rudderless, seems to be careering out of control and in the wrong direction. If it is to regain the respect of the graphic design fraternity it will need to think long and hard about how to reconnect with the very industry that started the organization in the first place.

Mike Dempsey / Studio Dempsey
Mike Dempsey
2008-05-18 17:31:31

Why can't the Design Museum have space for people to meet and discuss design? Be less of a museum and more of a cultural hub?

There really is nowhere in London for this to go on which is a tragedy.

As for D&AD and the design field, no one seems to want to seriously address real problems like Climate Change and what that means for design. Real problems are just ignored.

The field is incredibly sexist and male orientated, and often seems like just a cocaine fuelled boys club, the fact that appalling work like this gets awards speaks volumes:

http://www.dandad.org/awards2007/entry.asp?entry_id=15081
http://www.dandad.org/awards2007/entry.asp?entry_id=27885

I wouldn't want to be part of an awards that thinks this is worthy of a prize.

The low level of intelligence and anti-intellectualism among many in the design field, and especially it seems those who enter D&AD, and the privileging of wasteful, destructive and pointless things like most branding, packaging and advertising mean that unless people wake up soon, worrying about awards will be the least of our problems.
noel
2008-05-18 23:11:29

From Andy Altmann, Whynot associates

sorry i never made it last night – i was attending 'the can't be arsed' awards in the pub. michael johnson is a nice chap but he is from the 'old school' of designers – most of the designers i know just find it of no interest. this actually applies to most awards. there is only one which i really think is worth entering – the tokyo type directors club – it may be free to enter? (always attractive to a northerner like myself) but there is always some great work and you feel proud to be associated. 

lets be honest d&ad belongs to the ad boys and to graphic designers advertising feels like an ugly cousin. i have always found it a strange human condition to covert awards. i understand
advertising lives and dies by them but i don't think winning an award makes much difference to a small graphic design company
 Patrick Burgoyne
2008-05-19 09:53:51

To begin with, excellent article. But it might say something about the
relevance of the results when (as far as CR's blog goes) people feel
more compelled to comment on Sony’s new ad than design's absence from
D&AD's awards?

I was part of this year's design jury for the first time in my career,
so I got to see the whole judging process for myself. Being selected
to judge was a huge honour but I must say my own experience has left
me with very little faith in the judging process. It did seem to me
that a lot of people felt they had to behave in a particular way –
hyper-critical, seen-it-all-before, impossible to impress – just
because D&AD had chosen them as arbiters of creative standards. Couple
that with tables upon tables weighed down with design work, much of
which (but not all) being labeled as "appalling" and it's little wonder we've
arrived at this point.

It's a problem at both ends of the scale. On one hand it would appear
(and despite their best efforts) D&AD is failing to attract some of
great design work we all see flying around the interweb. And on the
other hand, it would appear design judges walk into the judging hall
looking for Gold from the outset. Ideas are needed on both sides. But
ideas which work alongside the other disciplines. (I'd be interested
to hear what folks in adland think about the awards.)

Here's my thoughts on what's already been put forward:

Pre-screening of design entries.
Good idea. Please don't think I'm being “hyper-critical” when I say
50% of what my jury looked at really was awful. And I'm guessing it's
the same every year. I'd like to think I was generous in spirit when I
judged but I was left wondering if some UK design agencies really know
what D&AD is all about? I know how that sounds, but until D&AD decide
to switch to an online vote or you see it for yourself, please take my
word for it.

You might argue it makes the good work stand out – to some degree it
does, but it's more a feeling of relief than excitement when you come
across a good piece. The point is, SO much mediocre work does bring
the mood down. It certainly effected me.

(I have to add, every one of my fellow jury members gave their full
attention and professional consideration to each and every one of the
500 or so cards, invitations, calendars, stamps, bags, T-Shirts, boxes
and letterheads.)

Fewer juries sweating harder over less work.
In my view, Michael Johnson's recent 'You say Tomarto…' thought lays
out the problem with design juries. How can so many Witty Young
Fogeys / Counterless Geometricals / Gridnik Modernistas etc. agree on
what is good design? (And do judges actually enter work into D&AD,
themselves?)

Perhaps fewer juries, predominately made up of designers but with a
good mix of experienced photographers, writers and illustrators would
provide a more rounded view of the work and yield more positive
results? Designers judge writing don't they? Graphic design uses
photography, doesn't it? It might also avoid the "Fuck NB Studios"
situation which Ben highlighted or the usual whining about the "big
boys sticking together".

Separate award judging and ceremonies.
Split the awards up. For arguments sake, let's say Digital /
Advertising / Design & Environmental. Make everyone feel a bit
special :-) ADC don't do it, that's true, but ADC don't carry the baggage
of their awards being labeled an ad man's show.

Shelve 'the book'.
I agree with Tony. (A few interesting jackets aside) If the Annual was
really testing the boundaries of book production, then perhaps it has
a place. But as lovely as it is to see your name in print, I think an
on-line archive is the way to go.

Lower entry fees.
No brainer. It’s probably the one aspect of the awards which everyone
can agree on. Sure, there’s a number of design groups out there who
couldn’t care less about awards – that’s fine – but judging from the
comments made elsewhere in the blogosphere, there’s a number of design
groups who are also pushing design forward but have turned away from
D&AD soley because of its crippling entry fees.

Separate events could allow D&AD to set entry fees more in-line with
what a small design practice can afford.

One small point, D&AD should really be the first people to post the
results. 5pm the next day, after the world and his dog have debated
them isn't really good enough.

I'm not really someone who likes sticking their head above the
parapet. I’m sure everything I’ve mentioned can be scrutinized and
argued against, which is why I much prefer to confine any half-arsed
ramblings to the studio. But on this occasion I feel it's important to
speak up and hope it helps bring about the positive changes needed to
keep D&AD connected to contemporary design.

I sincerely hope this will be a watershed moment for the 'D' in D&AD
and something good will come out this year's results. I
passionately believe in what D&AD stands for and hope it will still
mean something to the global design community in ten year's time. I
would encourage other people who feel the same way to contribute to
the debate – along with D&AD.

So this doesn't sound all doom and gloom, I must say I was hugely
impressed with the way D&AD ran the judging. It is a jaw dropping
moment to walk into the judging hall and see all the work on show. I
can't begin to imagine what it must take to put it together and make
it appear so effortless - everyone involved at D&AD deserves a big hug
and a slice of cake.

And for the record, we did enter one piece into the awards – I watched
the jury walk past it when they were reviewing their in-book selection
– miserable sods, the lot of them ;–)

Congratulations to all the winners.

Stuart Price
Designer
Thoughtful
Stuart Price
2008-05-20 10:48:35

Jaundiced. The danger of yellow pencils.

I feel a sense of optimism, as do most educators at this time of the year.
At the London College of Communication we have just assessed 190 graduating design students and feel confident that this cohort are as diverse, engaged, intelligent and well informed as is possible within the current, British design education system.

I feel less confident, however of the support that they will receive from the profession.

I am not sure that the debate on the current position of graphic design, triggered by the D&AD awards, sets the right tone for the student’s entry into the Industry? Does squabbling about judging procedures, entry fees and award glory set a good example to this huge, nation-wide body of graduating students, full of ideas, idealism and potential? Michael Johnson, honestly, suggests in his dialogue with Sean Perkins, that he has no idea what students are thinking. I suggest, that if D&AD and the design profession itself, are seeking ‘to wipe the slate clean, to do things differently, to do something that designers really value and want to belong to’ (to quote Sean) that they could not do better than involve new graduates and engage with what they are thinking.

We encourage our students not to read design magazines/annuals but to read newspapers.Students write dissertations on public space, responsibility, subcultures, individuality, heritage and flux as disciplinary boundaries become more obsolete and they try to expand the foundations of their approach. Their studio work reflects their thinking and tackles issues of medicine & interactive technologies, how to unmass the media, gender in packaging, educational environments, obesity programmes and sustainability
campaigns. They are disinterested in design awards, annuals and categories and want to concerntrate on content, achievement and how designers should use their skills.

I would urge everyone to read the recent Design Council Magazine article by Sir
Michael Bichard, new chairman of the DC and former Rector of the University of the Arts on the importance of designers working more on innovation in public services.
He reminds us that the Internet, moon landings and Open University all came from
profound innovation in public organizations. Design can become more social,
global, innovative, political again. Design is at the very epicenter of our culture and its about time that we all begun to work together as a profession and define new goals.

There are many grounds for optimism. There are some very interesting organizations for our students to approach; exciting agencies like Engine, Provokateur, Applied Works,Thomas Matthews, World Changing, The Design Conspiracy, Livework, Thoughtful,Think Public, The Meida Trust who are quietly redefining the future of our profession.

Change is exciting and exhilarating. Things have to change, nothing is static. Emerging practices demand that young designers often appear to lead the way but they need the wisdom and experience of the design community to work alongside. Education and the profession must work together more closely and be more agile and strategic.

This year Ken Garland gave another lecture to our students. He showed an extract fromthe Harrison Ford film ‘Witness’: the scene where the Amish community of Pennsylvania work together to raise a barn in a day. He suggested that the design community is underachieving because it lacks a united approach and clear commitment. I suggest we listen carefully to this designer in his eighties, still prepared to stand up and reflect.I don’t suppose he ever considered a yellow pencil would prove his worth as a ‘good’ designer.
Sarah Temple
2008-05-20 13:32:50

Sarah says a little more coherently what I was ranting about a little before…we need less advertising egos, less time spent on corporate design, and certainly no briefs for designing for the army, as there was in this years D&AD student competition and more critical thinking and more emphasis on the social role of design.

I hope to organise, with others, a festival of radical communication next year that will attempt to help these values come to the fore in the field, D&AD could be part of this but it would need a radical rethink about what it is doing, this may mean less money, less expensive dinners and award ceremonies/books but would be better for Society and can anyone looking round our world right now, a world racked with crisis and producing fear and alienation and not think this is absolutely neccessary?
noel douglas
2008-05-20 22:40:15

'... no briefs for designing for the army ...'

why not?
Action Man
2008-05-21 09:46:06

From Domenic Lippa, partner, Pentagram Design

There are so many issues here that it might be best the get the UN involved! I also think these issues have been around since I can remember. I actually agree with many of the comments made but the general feeling makes me not want to get involved with D&AD as it feels whatever they do you’ll get a hiding. Anyhow I’ll deal with some specific points:

1: Graphic Design judging 2008
Yes, I was one of those judges. Like Tony Brook I actually thought the level of entries was terrible. I was with Adrian Shaughnessey’s section, which was so depressing – Calendars, Direct Mail, Stamps, CD’s and what seemed like “Any Others”! I think we were all balanced as a jury and we actually brought things back that hadn’t got in just to try and get the numbers up – ironically I think we still ended up with the same number of “in-book” as we originally voted for. It was also our section that had the only 2 nominations – and I agree with all the comments about the bags – which is why it didn’t get a silver I suspect. The stamp caused more discussion BUT that’s the system and we just have to accept. There were some good debates about the work but when you’re arguing about whether a sponge cube should get in or a piece of work because of its die-cutting you know you’re scraping the barrel! However, walking around nothing really stood out. Having judged in the past you can see the winners a mile off – this year there wasn’t that much that was inspiring. I really don’t think its D&AD’s fault – if we’re not doing brave work then you don’t have a reason to gripe. In the past there have been dozens of silvers in the design sections – this year there wasn’t – so be it and let's move on. For me personally there was work I would have liked in the book or even warranted some sort of award but my fellow jurors disagreed – again that’s fine – I understand the system is flawed but that’s the best thing about D&AD – its not about appropriateness, or efficiency – it's just about design and as we’re all so opinionated then we’re going to get people canceling each other out.

2: Awards night
It was a bit of a disaster – for £150 a ticket it was a nightmare. Again full credit to Simon for trying to do something fresh BUT don’t try too hard! Thank god there weren’t any graphics silvers as we’d still be there! Again you can’t please everyone.

3: D&AD generally
Well, at the end of the day if people don’t think D&AD is relevant they won’t enter and I think that’s fine. D&AD should not try to please everyone – I think that’s been its problem. By becoming a business (which it more or less is!), the targets set to some of the departments are just so unrealistic. With regard to the issue of it becoming a global scheme – again D&AD can’t win this. If it was purely UK then that would promote our already exaggerated belief that only the best work comes out of the UK. By opening everything up we run the risk of certain types of work not being understood – I think that’s probably worth the risk!

D&AD is a subjective benchmark. There are plenty of designers I respect who have either never won a silver pencil or do not even consider its worth entering – this does not mean they’re better or worse.
 Patrick Burgoyne
2008-05-21 11:50:34

From Holly Hall, Awards Director, D&AD
It’s fantastic to see so much debate around a problem that we at D&AD are beginning to tackle ready for the launch of next year’s Awards. So let me first clarify what we think the problem is.

Firstly, our categories are named and structured in a way that we feel is easiest for the entrant to choose a) what they want to be judged on and b) who they want to their work to be judged by. Patrick is right, lots of work by Graphic Designers was successful this year but not work judged by the Graphic Design juries. So the question is why did work that was entered into the Graphic Design categories not make the grade?

Having spoken to a number of the judges that attended those three days at Excel, they clearly didn’t have unrealistic or too high expectations. Many of them have judged D&AD before and are aware of the benchmarks set in previous years. And I believe that our three foremen successfully quelled any rivalry/’fuck NB studio’ type behaviour through promoting fair and deliberated discussion from everyone in their group.

I do, however, take the point that there is a lot of work entered and of course when, even in a good year, there are very few Pencils among all that graphic design, it can be difficult to remain upbeat and of generous spirit. So, how we can create a process and an atmosphere in which the work might stand a better chance with the jury? Some feedback has suggested that judges vote on Pencils first and then move on to Noms and In-Book. Online pre-judging could be an option, although it is debatable how fair this is to work that often needs to be handled and seen up close to ‘get it’. We’re also considering bringing back an overall lead foreman for the three Graphic Design juries. The good news is, we’ve booked a brand new venue with natural sunlight in West London for 2009 so the mood will undoubtedly lift!

Unlike many shows, every year we put a huge amount of effort, time and money into reviewing our categories, making sure they reflect what is happening at the cutting edge of the industries we support. We make sure feedback from the previous year’s awards is discussed, and where possible incorporated, and we choose our judges so that our standards can be upheld year on year. Also, as a 45 year old organisation we have a very big file on what does and doesn’t work. We’ve had non-English language categories, open categories, large juries, small juries: if you think there is a blindingly obvious solution to something unfortunately there’s usually a reason we’re not doing it but get in touch all the same!

Ultimately, however, we see our biggest challenge in getting the best work entered in the first place, and this is where we will be focussing a good deal of time and effort over the coming months. Of course price is a massive barrier to a good many companies/freelancers and a price cut would be a step in the right direction, though please do remember, we are an educational charity and to exist as such we need to earn an income. However, in previous years we have lowered fees for categories such as Magazine & Newspaper Design and seen entries rise, so we know it works and will definitely factor it in for 09. But more than this we need the support from the industry. So please interact with us, share your thoughts with us and enter the work you feel judges should take notice of. We have a team in place to help you choose what category to enter your work into, but we receive 90% of our calls during the week of the entry deadline – call or email early.

We go to these great lengths each year because we care. A lot. As many of you mention D&AD originally stood for Design & Art Direction and it was founded by some of the world’s greatest. It is integral to our mission for creative excellence that we continue to work and interact and offer something worthwhile to all aspects of the creative industries, most importantly design. Many of you suggest splitting ourselves in two (design and advertising) but part of our mission is to integrate these two worlds, they are not separate entities and it is important that judges, entrants, students and tutors are given the opportunity to be inspired across disciplines.

A few brief words on some of the other topics mentioned: We love the Annual as it is part of a 45 year old tradition that forms the base of D&AD but an online archive is in production and will be launched in the near future, and yes, we would love a proper home where you could come and visit us too, we’re working on it.
Holly
2008-05-21 12:33:23

'Action Man' because I don't think it's morally ok to get young kids to use their creativity to design ads to get other young kids to join up to go to their deaths…let's not be dumb about this the reason why the army is advertising so heavily right now is because they can't recruit because people know it means going off to probable death or injury fighting illegal foreign wars for the benefit of Bush/Blair/Brown and the Oil companies.
noel douglas
2008-05-21 12:58:03

Hey Noel, yeah for sure I see your point of view here. But it's quite a cliche response to the 'morality' of design debate.. A knee jerk reaction towards the armed service isn't really the right place to direct it. What people seem to forget is, that the Armed services play an integral and inseparable part of society and culture as we know it. Which in turn allows us to live our lives the way we see fit. Lets not be naive here and think that the 'kids' have completely no idea what they're signing up for. The real issue here, is that collective decisions have been made to put the wrong people in the wrong positions of power, that of course is the joy of living in a democratic country. Democracy isn't something we can leave to run by itself, it requires lots of attention and continuous fighting for to make sure it runs correctly. Which a large amount of people don't bother to do. If your really interested in this subject, then that would be where you be devoting your energy. (If anything, the Army could do with our help here, more awareness, support and funding to make sure they come back in one piece after we've sent them out to do the dirty work of others.)
Be careful what you say about Immorality, it's rife in every corner we work in. I'm sure there's plenty of designers here that have quite a good amount of it stained on their hands in one way or another.
Action Man
2008-05-21 13:53:42

Action Man was it me or did 2 million of us say we didn't want the war?

Did our government listen? No, so much for democracy…

You display a surprising naivety to the role of the army and that fact that kids 'know' what they are signing up for…explain why then in ad campaigns it always talks about how you'll get a career, see the world that type of thing, or now even 'help' people…not you will die in a desert and be taught to rape and kill or come back home with your legs blown off and get no help from the government…working class kids suffer as the army specifically targets them, I know because I saw it at my comp when the army recruiters came round. Advertising for the army in a time of (illegal) war is morally wrong, and it is not the same as advertising a chocolate bar or whatever…if the people making the ads are prepared to go fight or see their kids go fight then fair enough, but I'm sure their kids are probably in public school and won't have that worry.

I don't need to be careful about what I say about immorality, you need to tell the truth…most advertising (which I am not involved in) is about promoting more consumption you may not have noticed but all the world leading scientists say we have 10, 15, 20 years tops to stop climate change, excessive consumption is partly to blame for that, advertising is part of the problem not part of the solution, this is not the same as design which can be part of the solution if current priorities are challenged.
noel douglas
2008-05-21 15:11:50

did anyone ever see that paula scher diagram/analysis of a blog for the nytimes? this discussion fits it perfectly.

http://blog.pentagram.com/paula-scher/ (you have to scroll quite far down)

we're currently at stage 5.
Rich
2008-05-21 16:49:52

Noel, you should read my post again, I'm not sure you quite understood it..

'... you will die in a desert and be taught to rape and kill or come back home with your legs blown off ...' my my, you are very articulate aren't you.

Have a good read here:
http://dictionary.reference.com/search?r=2&q=naive

You must be quite a hippie. Why don't you get angry and go make some anti Coca Cola stickers.
Action Man
2008-05-21 17:23:06

That Paula Schrer diagram is absolutely amazing by the way...
Sean Thomas
2008-05-21 17:50:03

Yes. That Paula Schrer diagram is brilliant.
Action Man
2008-05-21 18:33:23

Action Man I read what you said, you obviously don't agree with what I said, which is fine, I think your naive if you think the army is there to protect 'our way of life'…and also naive about it's role in Imperialism…

No I'm not a hippie, but a Marxist and plenty of mates who are ex-soldiers maybe you don't like my descriptions of what happens in the army by saying I'm inarticulate, not sure what is inarticulate about what I said, maybe unpleasant but then so is war…it's happening right now in Iraq and Afghanistan…and plenty of soldiers have come back injured (8 out of 10 people of the homeless in London are ex-services)

Don't expect people in ad agencies to understand all this, they get paid too much money to really think about what they do, but to get back to the original point I do think it's morally not on for D&AD, which claims to have an 'educational' mission to get students to do the governments dirty work for them by coming up with ads for the army. They don't have to and it would nice if they actually took a stand.
noel douglas
2008-05-21 20:00:42

sorry I should have also said, I work in design education as anyone will tell you in any art school in the country we are always short of money and always facing cuts with the inevitable results on quality- why? Well in part because according to economist Joseph Stiglitz the war has currently cost $3 trillion with billions of that being paid by our government, meaning less money for education, another reason why D&AD as an education charity should not be allowing this type of brief to be in the student awards.
noel douglas
2008-05-21 20:35:54

Noel, you should read my post again, I’m not sure you quite understood it..

lets leave credential dropping at the door shall we? I'm really very sure that nobody is interested that I am a practicing designer and teach design too. Yes, the school I teach with is also hard strapped for for cash (what a coincidence!), luckily it doesn't effect the quality of my students way of thinking. .

Good luck with the 'radical' and immoral use of Abu Ghraib images on your website. I look forward to seeing those Coca Cola stickers.

A
Action Man
2008-05-21 22:02:37

Noel, 'Action Man' - can we get back on topic please? thanks
creativereview
2008-05-21 23:17:28

A very thoughtful article, and a brilliant comment by Sarah Temple.

I teach in the final year of Graphic Design at Central Saint Martins. Next week, I will look at well over 100 portfolios.

Quite a few of them will contain work done for one of the D&AD student award briefs. Some of it will be poor, some will be brilliant, but I, for one, don't care if it has been awarded by D&AD.

That's because although St. Martins traditionally has the largest number of entries in the awards (mostly 2nd year students), I try my best to discourage my students from entering.

Why? Because students are following commercial briefs, co-judged by people with a set of commercial criteria. Will this idea help sell my product? Will this look good on our website? Are we connecting with young audiences?

Quite a few people have commented that 'old-school' graphic design is over, gone are the rebels, the gold-award winning work. It's not true. Every year, I get to see truly amazing work. Inspiring, witty, intelligent, mad, responsible, radical.

Almost all of this work resulted from briefs set by tutors, or set by the students themselves. Quite often, briefs work like a story, which students aim to continue. There are plenty of happy endings, tragic endings, absurd endings, no endings at all, or even new beginnings. It's stuff that just doesn't work commercially, it cannot be caught or framed.

Students don't need 'real briefs set by real clients'. They need inspiration and sound advice from able and experienced practitioners. They need what Ken Garland showed in the film about the Amish building a house in a day: a community that draws its strength from the creativity and enthusiasm of its members, and not from prizes for individuals.

The Amish surely did not give a prize to the best builder. The house they built was the prize, one they all shared after a hard day's work.

If D&AD has lost direction, why not try and be that house for us.
Max Ackermann
2008-05-22 00:47:18

In response to Dominic Lippa's comment about about the UN I see his point but I think they've got their hands quite full with more important issues right now.

Re: D&AD - so it's been a bad year for graphics? so what? it happens- judging by the remarks that Patrick's thoughtful article has provoked here it appears that it's more to it than just that.

Going Global was an innovative idea but I get the feeling it's not working and, like Mike Dempsey, I think D&AD has got too big for its own boots - just look at any of the recent Annuals - they are no longer the reference books they used to be.

New direction? certainly, and I definitely think there's something to be learnt from what Sarah Temple and Max Ackermann have said (and may have to say) if D&AD wants to secure a credible future. Maybe when D&AD enters schools and colleges it should ask a bit more and pay a bit more attention there at the back. I'm all for 'old-school' graphic design but I it's the 'old-school' that should get wise if there's to be change.

Miss Temple - you've made me want to go back to the LCP (sorry, LCC) and do it all over again.
Patrick, I hope you've started something.
Derek Stewart
2008-05-22 10:06:36

Oh. Sorry.

Brilliant article, with lots of thought provoking ideas and questions to be addressed.
It is quite apparent (looking at the feedback here, talking with follow creatives and students) that there is quite a large audience that D&AD is not reaching, or leaving very unsatisfied. The only possible thing D&AD can do, must do, is to re-evaluate itself and address these issues as soon as possible. The D&AD has played a very important role for many years within the creative industry - there are not many institutions of a parallel caliber. To secure its future, D&AD needs to put its ear to the ground, open its arms and adapt to the industries evolving needs.
Action Man
2008-05-22 10:12:33

I have to agree there, with Max, exactly my thoughts on this subtopic: '... They need inspiration and sound advice from able and experienced practitioners... ' in my experience so far – this really is not happening enough.
Although I can't agree with '... Students don’t need ‘real briefs set by real clients’ ...'
this too reactionary, this plays a vital part in the education process of all designers. It's finding the balance that is the key.
Action Man
2008-05-22 10:49:20

yes, CR sorry to strayed a bit (stessful time of year!), but I am trying to make a serious point which others are making too.

My experience of D&AD talks is that it is too advertising dominated and suffers from a lack of criticality, the army brief being one example of many. Last year at the New Blood Education/Industry panel we had several industry people who had no idea of what is going on in education but lectured those of us teaching about how bad students were.

I'm not saying this is all D&AD's fault it's obviously a reflection of the industry too.
But then I don't think design is just an industry, it really is a human capacity that allows us collectively to transcend our limits as individuals (the Amish example already brought up).

I think we need an organsation that whilst it may link students with practitioners should be more reflective and socially responsible, we really are facing serious problems with Climate Change and we do have to address it, this means a serious redirection of what many people are engaged in currently.

Less glamour, less individualism and more serious engagement with the problems of Society and what design can do t help solve these problems.
noel douglas
2008-05-22 12:30:30

On another note, we didn't enter anything these few years on the basis that the call to action on the direct leaves little to inspire or even impress.
Hon Lam
2008-05-22 17:16:54

This was the first year in about a decade I decided not to enter any awards. Not because I didn't have the work: because I just didn't see the point in bothering anymore. Blogs and archives like Luetzer's (I can't spell it) have become a decent record of global work. The annuals come out 18 months to 2 years after the work's run. And the costs, when you're a small agency or individual are astronomical. I can easily drop £10k just entering major awards: Ogilvy famously spends around $250k on Cannes alone. Or was that pounds?

I've made a suggestion in your pages before, Patrick: have a 2 tier costing system for D&AD. Right now the pricing system is based on an old-world model where the best work was often done by big companies who can afford the rock-star teams, had the big clients and budgets. Now that's just not the case.

Charge the big agencies a premium (dress it up somehow if you like, along the lines of business class travel) and have a lower cost for small agencies and individuals. The standard of work would go up, which would suit the big agencies (nobody wants their work to be rubbing shoulders with mediocrity, which is why some of the European awards get such little attention), and the whole process would be a bit more democratic.

(By the way, I discovered that if you win a major award and refuse to buy a ticket no matter how much they hassle you, in the end they usually crack and give you a freebie. Top tip for young players...)
Brian
2008-05-23 10:27:10

graphic design is a JOB, not some kind of altruistic movement that will cleanse society of its ills/put another man on the moon, not a way of life, not anything more than the name of the hours we spend at WORK. and anyway, how can you change the world whilst you care about the font your protest poster is set in?

graphic designers have such a high opinion of themselves. like were some kind of prophets for order, harmony and a better, more ranged left kind of living. its bollocks. . we make things look/feel/behave a bit better for people. we get paid to do that. why this need to feel important? to let our jobs define us? do bus drivers feel this need? does the guy who makes your coffee in the morning? politicians, ok, i buy that, but graphic designers.. purrrrllleeeeeeze.

go and make like the Amish if you please. I'll be hanging with my son in the park trying to live a little, trying to forget my job.

and awards, If you need verification of your imagined prowess then enter the lot, you'll meet lots of like-minded people, equally desperate to feel wanted. go on!step into the circle jerk and grab the guy to your left and start tugging. When your turn comes you'll learn the awards don’t make any difference to your life. its just a little ego thrill. A little bully wank and then a hollow feeling inside. but then a lot of our kind (me often included) need that, just like they need drinks events, conferences, talks and other tired networking opportunities. A need to feel important. To have value.
dadif
2008-05-23 14:51:11

Brian,
If I was you, I'd drop that 10k into hiring somebody to redesign your website.
Shocking.
Action Man
2008-05-23 17:56:41

Dadif, their open 24hrs: http://www.samaritans.org
Action Man
2008-05-23 18:01:12

eh? im happy mr action man. happy to be leaving work now..
dadif
2008-05-23 18:10:26

A lot of very interesting comments on this blog. I would just like to respond in particular to a comment by Max from Central St Martins.

CSM are undoubtedly doing something very right - every year they do very well in our own awards scheme and at placing their graduates into industry. The energy and rebellious spirit that Max identifies in the work of his students when responding to briefs set by tutors is absolutely a part of what the student education should provide. Universities and Colleges provide this opportunity to their students with great expertise already, which is one reason that D&AD takes a different direction.

And I agree that students need sound advice and inspiration from experienced practitioners, a lot of D&AD's Education programmes outside of the Student Awards focus on this very need and fulfill it very effectively. Those programmes do not focus purely on rewarding individual achievement and help many students and graduates who perhaps don't wish to enter the awards.

I disagree however that students don't benefit from real briefs from real clients.
This is a real need of many Universities and many students AND the employers that might be looking to take those students on. It is just one part of the equation and we do not claim that we can replace the University experience with our programmes. Our programmes are complementary and designed to be so. We are an industry led organisation and always have been - our role is to provide industry led guidance. Celebrating creative excellence through awards is just one part of that. Many, many students, tutors and Universities benefit from the oportunities the Student Awards offer, including some from Central St Martins. I think there is much to be said for the comment earlier that D&AD cannot be all things to all people - we also have a very particular role to fulfill in Education. We may not always get it perfectly right, we might have to keep working on it, but then who doesn't? It would be a real loss if D&AD's Student Awards were not there to fill that particular niche.
Laura Woodroffe
2008-05-27 13:14:44

It shouldn't be up to D&AD to ensure the long-term health of the design profession. Do you really want that? Long-term health of this profession does not belong to these institutions but to every single designers out there. I think it is about time that we stop giving each other awards right left and center, telling each other how great we are. We should maybe get our heads down and satisfy ourselves first with our own work. The rest should follow.
Philippe
2008-05-27 14:32:05

Can we not just treat all this as a hearty kick up the backside for all us designers? If people don't wish to enter then I hope they do so with good grace, after-all, this could be the reason no yellow/black pencils were awarded. Everyday I see countless examples of good design work from an ever increasing number of passionate designers. In time award winning work will be produced but let's be honest, stand out Graphic design has been thin on the ground, maybe if everyone stopped ripping everyone else off then we would experience a stage of evolution.
Let's stop Swiss style typography and give helvetica 75 a rest for a year at least.
Rich Smalley
2008-05-29 14:45:05

It's become an ad show, like the rest of the joint awards.

No suprise.

Make the logo bigger next time.
Design
2008-06-02 20:14:32

The moment D&AD put a members only restriction on the annual, the problems started. Smaller agencies outside London couldn't justify the 160 quid for all the lovely events and freebies, when all they really wanted was the annual. Students simply wanted to leaf through the book, dreaming of a possible future. The book was the bible - it was accessable, you didn't need to be a member to dream and aspire and look at the best. If we can't see the book because we're not members, why would we want to enter the awards?

Kevin Blackburn
Design Director
Elmwood Melbourne
Kevin Blackburn
2008-06-03 00:03:43

It's a fairly simple principle. Introduce a maximum number of entries, and reduce the entry fee. But then of course you wouldn't make as much money as you do.

Good graphic design isn't in decline in any way, but people willing to suffer the lowbrow attitudes, bitchiness and self-congratulatory behaviour that's visible even in this comments section, are.
Even a cursory glance above this post will show up pointless bitching and unwarranted snide remarks.
Another point would be that young designers simply don't respect the D&AD, and aren't all that willing to be judged by self appointed arbiters of taste, and have to pay out an extortionate fee for the "honour".

We're not artists, we're professionals working in an industry, and we all have the same constraints. Sadly we can't all afford to take time away from paying work to do pro-bono projects specifically for an award, and then pay for the privilege of entering it.

I have to agree with Phillipe above, stop giving out awards full stop and get on with working.
Duncan Macdonald
2008-06-05 10:28:09

This is a brilliant article/discussion and long overdue.

My cynicism reached its peak a few years ago when I noticed the marriage between Graphic Design and D&AD was looking rocky. It has been coming for a while and I am pleased this topic as reached the fore.

Firstly, there is a perception that the awards generally get swallowed up by the 'big cat' ad agencies. This is not unjustified as the work is brilliant, nevertheless, often the best graphic designers are a single entity or at the most a small agency like ourselves, and the thought of 'little ole me' competing against 'Honda' sized production budgets just seems totally daunting and incomparable in the first place.

Secondly I think there are some ways to adust the categories and judging system.

Graphic Design, Branding, Advertising, are the 3 key areas for me. There are always crossovers but I think most work relevant to graphics slot into these filters. Stuff like product design, web design, environment design still warrant their own categories, which is fine because the lines between them are obvious.

Judging. Picking up on previous points about judges covering a broader range of disciplines – good idea – but I have a variation on the theme. I feel like the work should be put forward by a panel as normal, it gets narrowed down to 5 nominees for each award. Then there is an online judging process where work can be viewed by D&AD members. 50% of the final vote comes from the judges, the other 50% comes from the members. This democratic process allows a more rounded decision and eliminates subjectivity. 10,000 designers cant be wrong.

Every category should have a winner every year. Currently – If one category doesn't win one particular year, it reduces the desire to bother entering it, the next. You never hear about no-one winning the PFA player of the year because no one played outstanding or no-one winning 'best single' at the brits! – Award the best! Also – if the latest 'Bravia' commercial is as outstanding as previous campaigns and warrents true outstanding excellence, then there is another tier of awards reserved for this. Call it the ultimate prize.

Hoping for change.
Screwy
2008-06-09 21:45:50

Wonderful post, have learnt a lot here.
Web Design Zoo
2008-08-30 13:01:09

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