365: AIGA Year in Design Winners Announced
AIGA Celebrates the Innovation and Inspiration of the Design Community
New York, NY – AIGA, the professional association for design, is pleased to announce the winners of 365: AIGA Year in Design, a 360-degree view of design over 365 days. The competition celebrates designers, design teams, and their clients for effectively working together to design creative solutions for challenges presented by businesses and organizations during the calendar year 2022. This competition recognizes excellence and represents innovation across all categories of communication design, from print to web to service to spaces—both physical and virtual.
With 609 entries from more than 16 countries around the globe, including the United States, Canada, Singapore, Australia, Taiwan, Germany, Greece, Netherlands, Nicaragua, Georgia, Kazakhstan, United Kingdom, and more, this year’s jurors selected 52 entries that represent excellence in design.
“In my role as Chair of the jury for this year’s 365: AIGA Year in Design competition, I regard the carefully chosen projects as a barometer of the shifting standards of design excellence. In arriving at the final selection of 52 entries comprising the Winners Gallery, we posed a question to each other, “What are our sources of inspiration, and where do we seek them out?” In a practice and discipline that is a constantly moving target, how do we maintain standards of quality, but make ourselves open to an anticipatory mindset. It is important to constantly define what qualifies as an “award-winning” project and what values of our practice remain the same,” said Lucille Tenazas, 365: AIGA Year in Design Chair.
AIGA thanks this year’s panel of esteemed jurors: Lucille Tenazas (chair), Henry Wolf Professor of Communication Design at Parsons School of Design; Keetra Dean Dixon, Experiential Designer, Keetra Dean Dixon; Natalia Ilyin, Professor of Design, Design Histories, and Criticism, Cornish College of the Arts; Lynn Kiang, Partner, Dome and Director, MPS Communication Design, Parsons School of Design; Abbott Miller, Partner, Pentagram; Wael Morcos, Partner, Morcos Key.
Read what this year’s jurors have to say about some of this year’s designs:
“Brilliant way to bring all visitors into a nurturing space, you can feel the care. So many delightful memory markers, intimate moments of engagement, chances to play and reflect—a vital extension of the work and healing on-site. And deeply connected to the context of the land. What a wonderful place!” – Seattle Children’s Hospital Building Care Wayfinding
“A fine example of printing, die cutting, blind embossing, and no-margin-for-error folding, this invitation drew sincere praise for its standard of craft, a standard rarely seen in collateral print today. The paper choice—textural blue/grey duplex—is a refreshing throwback/innovation. A reminder that all paper does not actually have to be filled, smooth, and blindingly white.” – UCSF Future of the Brain Summit Invitation
“This campaign elevates color to an extraordinary level of importance, allowing the imagery to puncture traditional expectations about ballet and drawing audiences in through its otherworldly atmosphere.” – HONG KONG BALLET
“The logo refresh for INTUIT relies on an understanding of how typography can achieve a lot with restraint. I appreciate the wonderful rhythm achieved through letterform shapes that with a simple gesture (turning it upside down) provides a different reading. The repetition of the “T” creates a sense of typographic symmetry and stability. The use of a single color throughout the design system provides consistency– I can’t help but think of “Big Blue”, the nickname accorded IBM back in 1980– for obvious reasons, but then again, no company “owns” a color. It will be up to the success of INTUIT over time when the immediate recognition of a color can be assigned to it.” – Intuit Visual Identity Refresh
The competition was first launched in 1924 as “Contemporary Printing for Commerce.” Since then, it has been called: “Printing for Commerce” (1925–1953); “Design and Printing for Commerce/Fifty Advertisements of the Year” (1954–1967); “Communication Graphics” (1968–2000); and “365: AIGA Year in Design” (2001–2011).
Design is at the heart of successful businesses, and AIGA is committed to creating and restoring pathways for designers and design teams to raise awareness of their work and its impact. Competitions are instrumental in identifying emerging and hidden talent within the design community, recognizing effective visual design solutions in the marketplace, and communicating the added value of design to adjacent industries. Work selected by jurors will chronicle the contributions of design and designers to business value and visual culture.
Learn more about 365: AIGA Year in Design competition.
Banner Image: 365: AIGA Year In Design. Image Credit – AIGA