Editor’s Column

This year’s winning entries saw growth in trademarks, letterheads and product/service brochures. We also saw significant growth in motion graphics, although the category was dominated by ad agencies, who have been increasing submissions to the Design Annual for several years. This reflects advertising’s push into areas outside of traditional print and television.

Go to Jurors Biographies

“I was impressed with the identity program materials,” said juror Brandon Murphy of Dallas, Texas-based Squires & Company. “It is a category of design that is often purely functional and deemed confining by designers. However, the entries this year were highly innovative, fun and diverse. Not only were they creating guides for functional usage, they were creating interesting literature that helped communicate the attitude and style of the companies.”

“In the package design entries, specialty food products and bath products continue to be strong,” said juror Margot Perman of Real Design Associates in New York, New York. “I had the sense that in addition to established brands, many of these were small entrepreneurial companies where the client must have seen the value of good design. It was encouraging to see this.”

When asked about any overall visual trends they saw, juror Stephen Turner of Turner & Associates in San Francisco, California, and Philadelphia, Pennsylvania, felt we are definitely in a post-modern age. “The best work juxtaposes two genres or takes a familiar idea and twists it in a surprising way. There was so much really fine work that demonstrated intelligence, wit and self-control,” he said.

“The best projects for me were the ones that balanced content and design, ones where a corporate company relayed their story in a novel new way instead of the same old jargon, or where the content was fresh and filled with surprising information,” said juror Minh Nguyen of Methodologie based in Seattle, Washington.

“You cannot create a meaningful identity program or corporate book that is not fundamentally informed by strategic thought.” —Margot Perman

Gil Shuler of Gil Shuler Graphic Design in Mt. Pleasant, South Carolina found that the most memorable entries altered his vision. “There were design ideas that I had never seen before. They were fresh and new. I also noticed that the stronger of the good ideas were the simpler ones. Over-produced work is still there, but the simpler, well-thought out work rose to the top.”

When asked about the future, Sally Morrow of Portland, Oregon-based Sandstrom Design feels that we will see more combinations of print and digital content. “I think people will always long for the tactile portion of our work, something that provides a human ‘touch’ connection. It’s just that it will need to live alongside and ‘collaborate’ with a dynamic digital medium.”

The increasing challenges of contemporary graphic design were not lost on Kym Abrams of Kym Abrams Design in Chicago, Illinois. “The designer must be consulting on all aspects of integration to be effective, including the brand voice (editorial), face (visual presentation) and on all platforms (print, Web, advertising),” she said. “I am continually astounded by the complexities of the problems we are solving and the limitations of time to work them out. Having less and less time will become design’s greatest hurdle.”

“I see design as a launching pad for innovative careers beyond design itself. Design is becoming a starting point, rather than a destination.” —Stephen Turner

As in past judgings, we employ a two-step process: screening and finals. For screening, the jurors work in teams of three, one team per hall. Each hall is equipped with a projector for digital images and six rows of tables for print. All but the smallest categories are split into thirds so each team screens a third of the entries. The judges alternate between viewing projected images and a set-up of print entries.

During the finals, all nine jurors work together. Print entries are again spread out on the tables. Two paper cups, one white for “in,” the other red for “out,” with slots cut in the bottom, are placed upside down to the right of the pieces. The jurors vote by putting a different colored tile into the bottom of the appropriate cup. The colored tiles allow us to make sure that every entry is voted on by every judge.

Projected images are again voted on by each juror checking “in” or “out” on scoring sheets.

Judges were not permitted to vote on projects they were directly involved in. When a judge’s piece was in the finals, Jean Coyne, our executive editor, or I cast the ninth vote.

I would like to thank our jurors for their conscientious efforts in making the selections for the 47th Design Annual. —Patrick Coyne ca

Jurors Biographies


Neal Ashby


Ashby Design

Neal Ashby is the principal of Ashby Design based in Alexandria, Virginia, whose clients include Virgin Entertainment Group, Capitol Records, ESL Records, EMI Music Group, XM Satellite Radio and MTV Networks. For ten years, Ashby was vice president and cre-ative director for the Recording Industry Association of America (RIAA). His work has been published by Communication Arts, Graphis, HOW, I.D. and Print magazines, and has won awards from the New York Art Directors Club, the AIGA, the Type Directors Club, the American Center for Design and the Designers and Art Directors Association of the United Kingdom (D&AD). He was nominated for a Grammy® in 2005 for Best Recording Package. His work has been displayed at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. Ashby is an associate professor at the Corcoran College of Art + Design in Washington, DC.


Jonathan Howells

creative director and co-founder

Dinnick & Howells

Jonathan Howells is creative director and co-founder of Dinnick & Howells, a design company with offices in Toronto, Canada, and London, England. In its twelve years, D&H has worked with a wide range of clients including Levi Strauss & Co, JM Smucker, Art Gallery of Ontario, Hugo Boss, Alliance Atlantis, Chronicle Books, Faber and Faber, Random House, among many others. In 2006, Howells relocated to London, England, to open a second office and discover new opportunities and experiences in the British and European design market, though he directs projects in North America as well. Howells’s work has been featured in and received awards from design journals internationally, including Communication Arts. He has taught design classes at the Sheridan College, Humber College, and the Ontario College of Art & Design where he graduated in 1991.


Sally Morrow

associate creative director and principal

Sandstrom Design

Sally Morrow is an associate creative director and principal at Sandstrom Design in Portland, Oregon. A graduate of Art Center College of Design in Pasadena, her career began at Coleman Souter Design in San Francisco, on projects such as the San Francisco Opera, San Francisco Ballet and Swatch. After a move to Portland to begin a small design entity within Cole & Weber Advertising, she worked on Dr. Martens, Cycle Oregon and everything in between. At Sandstrom Design, she continues to create award-winning and effective brand communication for clients large and small. They include ESPN, Converse, Nike, Brand Jordan, adidas, Reebok, Portland Center Stage, Kink fm and Sokol Blosser Winery. Awards include AIGA, Communication Arts, Graphis, I.D., London Inter-national, New York Art Directors Club, The One Show, Portland Rosey Awards, Type Directors Club and a red ribbon for coming in second in a Barrel Riding contest at summer camp. Sadly, she lost by mere seconds.


Brandon Murphy

creative director

Squires & Company

Brandon Murphy is creative director at Dallas-based Squires & Company. Born in Muskogee, Oklahoma, Murphy later relocated to the Dallas area, where he attended the University of North Texas, earning a BFA in communication design. Since graduating in 1993, he has worked for corporate design agencies and individuals including Eisenberg & Associates and Joseph Rattan Design and joined Squires & Company, a design and advertising firm, in 1997, where he was promoted to creative director in 2001. Murphy has been recognized nationally and internationally in award shows and periodicals including: The AR100, Communication Arts, Graphic Design USA, Graphis Annual Reports, Graphis Logo, Graphis Pro-motional Design, Graphis Design, Graphis Poster Annuals, How and Print’s Regional Design Annual. Murphy is also a working adjunct professor, teaching and advising for the University of North Texas.


Minh Nguyen

senior designer


Minh Nguyen was born in Saigon, grew up in Colorado and attended Colorado State University in Fort Collins. Now, Nguyen is a senior designer with Methodologie, a brand design firm based in Seattle, Washington. Methodologie has clients within the fields of technology, finance, the arts and institutional foundations. Nguyen joined Methodologie in 2000 and since that time he has been recognized for work with clients such as The Coca-Cola Company, Federal Home Loan Bank of Seattle, Itron and The Gates Foundation. Annual reports he has designed have been recognized in the Mead and Mohawk competitions, as well as The Black Book AR 100, Communication Arts and the Type Directors Club.


Margot Perman

founder, creative director and co-principal

Real Design Associates

Margot Perman is the founder, creative director and co-principal of Real Design Associates in New York. Established in 1990, the studio creates brand identity, publication and advertising pro-grams, exhibitions, signage and packaging for clients such as the Guggenheim Museums in the U.S. and Europe, Bill T. Jones/Arnie Zane Dance Company, the Samsung Museum of Art, cellist Yo-Yo Ma, Sony Music and the United Nations. Along with her partner, Jürgen Riehle, Margot has worked with a broad range of inter-national clients on projects in the United States, Germany, South Korea, Spain, Italy and France. A graduate of Parsons School of Design, she has been a guest lecturer and critic at Parsons, New York University and a speaker at numerous design and museum conferences including Neocon, ICOM and the Louvre’s “Musée Musée” series.


Gil Shuler


Gil Shuler Graphic Design

Gil Shuler Graphic Design, located in Mt. Pleasant, South Carolina, is a full-service design studio specializing in brand identity including name development, logo design and application, posters, catalogs, capability brochures, annual reports, product packaging and basically anything that can be printed. Established in 1985, the studio is staffed with three designers and an account manager. Shuler graduated from Western Carolina University with a BFA in graphic design. The work of the studio has been recognized with a Silver Medal Award from the Advertising Federation of Charleston, over 300 awards and 4 best of show from the Charleston ADDY Awards and National Addy Awards. Shuler’s work has also been included in Communication Arts Design Annual and Print’s Regional Design Annual.


Stephen Turner


Turner & Associates

Stephen Turner began his career in architecture. Then, after graduating from Tyler School of Art with design/painting dual majors, he joined Primo Angeli to focus on packaging, identity and signage programs. He moved into branding, print and corporate communications before forming Turner & Associates in 1997. Today, his firm operates in San Francisco and Philadelphia on marketing initiatives with the Web at the center, using all of his experience to drive people to online and retail environments. He designed and built-out his San Francisco office and his spare time is taken as a guest critic at various colleges, while sitting on the advisory boards of the Academy of Art University and Shivas Irons Society. Turner & Associates has won all the big awards and has major clients who want results—every day.

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