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NEW YORK—November 15, 2013. This week AIGA, the professional association for design, announced the 2013 results of “Justified: AIGA Design Competition.” Nearly 300 design projects were submitted to the annual competition, to be judged on strength, concept, impact, methodology and success of formal execution and aesthetics.
Effective design reflects the powerful emotional draw of creativity, inspiration and simplicity. And yet for design to be truly effective, it must also serve the client’s very specific needs. With this in mind, the 2013 “Justified” competition honors exemplary case studies of design solutions that successfully demonstrate the value of design.
Chaired by Clement Mok, this year’s “Justified” jury—Valerie Casey, Jessica Hische, Brad Johnson, Josh Rubin, Christopher Simmons and Alina Wheeler—identified 14 submissions they felt served as an effective tool for
explaining design’s value and provided detailed comments to accompany each of the selections. Explore the 2013 selections, and learn more about the competition and selection process in a statement from the jury chair.
EDP Identityby Sagmeister & Walsh
To rebrand this world leader in renewable energy, Sagmeister & Walsh created a modular identity that is transparent, innovative and customizable. “When you’re actually green, you don’t have to flaunt it.”
Five Borough Farmby Kiss Me I’m Polish
For an initiative in support of urban agriculture in New York City, an interdisciplinary team conducted research and compiled metrics on the movement. A publication, infographics and companion website distill complex data sets and stories with simplicity and clarity.
Gallery Oneby Local Projects
A new permanent wing of the Cleveland Museum of Art allows visitors to explore the collection though a groundbreaking suite of interactive experiences that leverage digital technology and rely on intuition, play and creativity.
GE Garagesby Sub Rosa
Taking a cue from “maker” culture, GE sought to connect directly with consumers through a hands-on, pop-up engineering lab and fabrication workshop dedicated to making advanced manufacturing technology understandable and relevant to everyone.
LIVESTRONG Brandingby Rigsby Hull
Facing a brand crisis, the LIVESTRONG Foundation responded with a subtle rather than radical rebrand, boldly banking on the organization’s secure sense of self and its message that LIVESTRONG has never been about one person.
Nothingby Nail Communications
To help a food bank tap a new donor base during difficult economic times, this campaign took a popular assumption—nothing can end hunger—and redefined it as the solution, turning “Nothing” into a food brand.
Our Global Kitchenby American Museum of Natural History, Exhibition Department
Presenting food from many angles—cultural, political, historical and scientific—this in-depth exhibition effectively gives physical form to complicated stories, making abstract ideas about food both compelling and visually appealing.
The Convertible You Always Wantedby DDB Sydney
Evoking feelings of nostalgia, this digital brochure successfully positioned the Golf Cabriolet as the car consumers had dreamed of when they were children—while also highlighting its technologically savvy features.
TNSJ Visual Identity & Communicationsby Joana Monteiro
To cultivate new audiences, a respected Portuguese theater embraced a new visual identity designed to infuse the institution with a spirit of renewal and contemporaneity. The success of the first season’s materials opened the door for further design developments.
UNIQLO "Storms" Pinterestby Firstborn
This disruptive and highly innovative campaign for UNIQLO leveraged a popular social media platform to present a series of branded mosaics to consumers. Garnering the company millions of media impressions, it required no paid media.
University of California Brandingby University of California, Marketing and Communications
While first and foremost about the creation of a new visual identity system for the University of California, this case study also reflects on the controversy around the new logo and its impact on the UC in-house team’s broader communications strategy.
Waves of Colorby Antonio Alcalá
These elegant high-denomination postage stamps are the first completely abstract designs issued by the United States Postal Service. What could be a better representation of a country that celebrates freedom?
Wee Society Brandingby Office
The goal was to create innovative and playful learning experiences that give kids a positive perspective on the world and offer parents the tools to help encourage empathy, creativity and confidence. A well-executed brand strategy helped make Wee Society distinctive in a crowded market.
YBCA:You Campaignby Volume, Inc.
Striking a balance between accessible and sophisticated, this campaign for a Bay Area arts institution aimed to attract area audiences that might be curious about art but intimidated by high culture. “Friendly hip, not hipster hip” was a guiding principle.
AIGA, the professional association for design, advances design as a
professional craft, strategic advantage and vital cultural force. As the
largest community of design advocates, we bring together practitioners,
enthusiasts and patrons to amplify the voice of design and create the
vision for a collective future. We define global standards and ethical
practices, guide design education, inspire designers and the public,
enhance professional development, and make powerful tools and resources
accessible to all. Learn more at aiga.org/about.
For further information, please contact:Jennifer Bender, director of communications and marketingAIGA | the professional association for design
AIGA’s national design competitions celebrate exemplary design and
demonstrate the power of design.
Section: Events and Competitions -
AIGA communicates with the public through a variety of channels. Look here for press releases, news announcements and information on AIGA’s current programs and events.
Section: About AIGA -
New York, NY—September 29, 2014. As the definition of
“design” continues to broaden, so too will the scope of AIGA’s biennial
design and business conference. Next month, leading
thinkers-practitioners-writers-educators will converge in New York City
at “Gain” to consider many facets of the design of business for the
New York—September 23, 2014. Next week, AIGA, the professional
association for design, opens “Dan Friedman: Radical Modernist”—a
vibrant and inspiring retrospective of a designer who pioneered New Wave
design while carving his own path from academia to corporate design,
experimental European commissions and AIDS activism in the East Village
art scene. This exhibition is organized and designed by AIGA Medalist
Chris Pullman and Laura Varrachi of LVCK Environmental Graphics with
support from Dan Friedman's brother Ken Friedman.
New York, NY—September 25, 2014. AIGA and Wacom announce the launch of “Rise & Shine,”
a new video series that goes behind the scenes of the diverse practices
of six up-and-coming communication designers. Viewers are invited to
travel across the United States with AIGA, the professional association
for design, and Wacom, the leading producer of intuitive design tools,
to visit a range of talented, emerging designers working today and find
out what fuels their creativity. The series offers a closer look at
everything from creative processes and big career breaks to the
techniques and technology they use to realize their visions.
NEW YORK—September 18, 2014. AIGA, Design Observer and Designers & Books today published results of the 2013 “50 Books/50 Covers” competition. A panel of jurors including Michael Bierut, partner at the New York design firm Pentagram; Jessica Helfand, founding editor of Design Observer; and Peter Mendelsund, associate art director of Alfred A. Knopf Books chose 50 outstanding books and 50 exceptional covers.
This task force is charged with reviewing the role AIGA might play in recognizing, communicating and advocating remarkable design that has emerged from the graphic design tradition—experienced in many media and forms today.
Section: About AIGA -
While in school, design students learn many things, from design concepts like gestalt, processes from brainstorming to production, and even the technical aspects of software and code. All of that is essential to becoming a designer, but there’s one thing the typical curriculum may not cover: How to give—and receive—a good design critique.
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