I’ve just wrapped up judging the Communication Arts Design Awards. After going through hundreds of entries, a few clear patterns emerged. Some projects made an impact right away. Others faded quickly. But the ones that stuck around shared a mix of clarity, care and character.
Print that’s evolving
Books and editorial were definite highlights. Projects like 0.itemzero’s Paper, Paper, Paper reminded us that print is still very much alive. It used material, structure and format to make the idea feel real. French folds, thread binding, dynamic layouts. The design and production were working together.
In a screen-first world, this kind of work had real weight. It slowed things down and rewarded close attention.
Posters that stand out
The poster category also delivered. Works like Imédia’s posters for Théâtre La Bordée were sharp, striking and well balanced. They were confident without being over-designed. These posters used scale, typography and narrative in a way that made you feel something. No tricks. Just good thinking and execution.
A great poster still has the power to stop you in your tracks. These ones did.
Craft makes the difference
Across every category, the biggest divide came down to craft. Some entries had strong concepts but were let down by old-style mockups, average photography or styling that felt tired. Others had taken the time to finish the idea properly. It made all the difference.
The best work didn’t feel overpolished or flashy. It was clear and confident. It knew what it was saying and how to say it.
Student work stands up
The student categories had a few real surprises. Projects like HuangXin ZhengNie’s Theory of Accelerated Behavior posters turned creative limitations into something original. There was also the clever Quemoy Memories accordion-style pop-up book—by Chin Lan Chiu, Shu Ling Jiu and Jyun Ying Wu—that showed great attention to detail.
Some of the ideas were strange in the best way. Fresh, full of personality and not yet watered down by commercial constraints. Not all of it was polished, but the energy and thinking stood out.
Packaging that gets it
Packaging was another highlight, with Animals Party by 5gN2 Creative Design standing out. The shape of the pack made it instantly recognizable, and the tone of voice was light and clear. It didn’t try too hard. It just worked. You knew exactly what it was about within seconds, which is half the battle.
Smart use of tech
A few entries used tech in ways that felt meaningful rather than tacked on. AI Mentors from Cossette and Oxygène was a good example. It brought AI into the mix in a way that supported the idea, not just the visuals. It felt considered and human.
That kind of grounded innovation, whether through structure, materials or interaction, stood out more than the louder, more decorative work.
Where design might be headed
Design is shifting. It feels more collaborative. AI is changing how we work, and the strongest projects used it as a tool to improve the idea, not distract from it.
Sustainability is also becoming part of the idea, not just something added at the end. When it’s baked into the concept through materials, process or thinking, it feels more honest.
There is also a move toward work that invites people in, rather than spelling everything out. The Interpretation Power of Memories by Yunqi Peng did that well. It created space for audiences to engage on their own terms, rather than being told what to feel.
Final thoughts
The projects that stayed with me were the ones that felt grounded. They weren’t loud, but they were clear and confident in what they were trying to say. They didn’t chase trends or try to do too much. They just worked, because the idea, craft and execution all pulled in the same direction.
There’s still work to do. Some entries felt rushed or stuck in the past. But there were plenty that pointed forward. That reminded us of design’s ability to inform, connect, delight and challenge—sometimes, all at once.
The best work didn’t just look good. It stood up. And that’s what we should be aiming for. ca
Chris Flack is design director at New Zealand–based design firm Strategy Creative. Flack’s career has taken him from one side of the world to the other. Along the way, he has helped put a small town on the map by creating a new time zone, launched TEDx in New Zealand by exploding more than 1,000 ping pong balls, rebranded Christmas and convinced the design world to embrace Comic Sans—for a good cause! His work has been featured in everything from Mashable to Creative Review, and his designs are displayed at the Mexican Museum of Design. He regularly writes, judges and talks (a lot) about design.
